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Show Meller-dirama d a zaimy parody of high romance by RICK BROUGH Record staff writer "Deadwood Dick," currently being be-ing produced by Park City Performances, Perfor-mances, is one "Rhustlers Rhapsody" Rhap-sody" that is clearly off-key. But that is why it is fun to watch. In most of these meller-dramas for the tourists, the usual result is a broad, but polished and professional production. If there are any clumsy moments, it tries to slide over them. Director Richard Scott and his troupe are best when they seize on the rough spots and goof around with the material. The more experienced players have worked up some deft parodies of their characters. And the new players on the Egyptian stage may not be the best performers, but they usually have the resilience to play against the hecklers in the audience, the absurdities in the script and the occasional moments when they stub their toes in the performances. I don't want to suggest the actors play around so much the story stops dead in its tracks. But "Deadwood Dick" would do well not just to ask for boos and cheers from the audience, but to encourage an ad-lib situation between the actors and audience to a modest extent "Rocky Horror" West? The plot, set in Deadwood, South Dakota, concerns two sisters who hold the secret to a lost gold mine avidly sought after by villainous Blackman Redburn (Clayton Maw) and tough Calamity Jane (Julie Bruff). One sister. Rose Blossom (Jackie Toy), has been abducted off the stage by the infamous outlaw "Deadwood Dick," or at least that's what everyone thinks. Actually, the outlaw is noble Ned Harris (Bob Toy), who snatched Lily while carried away by mad passionate pas-sionate love for her. Meanwhile, Rose's sister Lily, beautiful but blind as a fencepost, has been taken in by Calamity Jane. Lily's faint off-key voice is hailed as ' that of a nightingale by the tone-deaf Deadwoodites. In between musical gigs, she is threatened, hog-tied, drugged and dragged by the villainous Black' n Red. Meanwhile, the sheriff's wife Molly (Madeline Smith) confesses to a sordid episode in her past, which indicates she is the mother of one of the two sisters. The actors under director Scott are best when they appreciate the ludicrous nature of the story and the archaic dialogue. (The script, by Tom Taggart, suggests it was written with a certain amount of parody in mind.) In addition, Scott could probably spin a few jokes off the sound effects. When horses ride up offstage, the PA system makes it sound like a parade of Sherman tanks. But the actors cup their ears delicately and say something like, "Hark, do I hear approaching hoofbeats?" Bob Toy is perfect as Ned Harris a delightful and controlled comic performance. Whether bounding on and . off the stage, or heroically sneering at the villain, he acts like Batman, with Peter Pan thrown in and a dash of Paul Lynde. (W hen he bursts on stage, nimble pianist Roxanne Shapiro plays the Mighty Mouse theme. ) Jackie Toy, his wife, is, appropriately, approp-riately, his leading lady, and matches him every step of the way in skill. She's been waiting for years for a role that would use her goo-goo-eyed energy, comic flair, and her deft ability to play a too-cute-for-words ingenue. She's the best thing since Nell in the Dudley Do-Right cartoons. Madeline Smith handles her role WW mmm ma Robin Moench Look for a guy who's steely-eyed. That'll be the wily outlaw, Dick. well as the sheriff's wife, throwing in oirasional sly touches. When her husband s;iys a dance-hall tramp isn't fit "to tie the laces on my wife's shoes," Smith looks down at her unlaced shoes with a slow, baffled double take. (The part will also be played by Linda Martin. ) Karri Hays is Lily Blossom, a virginal, tremulous wreck. She establishes a very funny character-one character-one so timid she could make Bambi look macho. Clayton Maw as Blackman Red-burn Red-burn looks great in black and is a wonderful pain in the neck. He believably portrays the type of meanie who can snivel at a moment's notice when someone challenges him. It's regrettable his part lacks a bit in comic potential. Blackman is called upon mainly to snarl. (The part also will be played during the run by Larry Sheldon. ) A couple of actors have a fine physical presence, but haven't settled into a comfortable rhythm with the dialogue. E. Timothy Schomburg as Wild Bill Hickock, Ned's pal, doesn't always have a smooth vocal delivery, but is tall, bearded and rangy. His casual manner is effective a little like the young Henry Fonda in those old '30s Westerns. Julie Bruff, as Calamity Jane, is statuesque, talks with a Mae West accent, and stands about half a head taller than the hero. You start to think it would be more interesting if he took her, instead of Blackman Redburn! By the way, she is no relation my loss and that last name is not a misspelling. She's too heavy with the dialogue, but Bruff has a commanding presence. In an odd way, she's the character who commands the audience's audi-ence's sympathy and speaks for us on several occasions. (The part is also played by Ruth Ann Fitzgerald. ) Frank Harris is a stiff but amicable sheriff (also played by John Stavish). Van Martin is a hearty judge (addressed as Just-Ass Nix), though a bit too affected, and Teetotal Tessie, a temperance crusader, is played by a feisty Connie Jean Boyle. Chris Moore plays the noble Chinese Pong Ping, who sacrifices himself so much for the white heroes he borders on masochism. (Scott could emphasize this, making the-valiant the-valiant little ethnic more and more mangled as the play progresses. ) Lori Devenberg, as the dance-hall girl La Paloma, has an atrocious French accent and wears a skimpy outfit. (So how come the men don't care that she has an atrocious French accent?) As Chet Pussy, a secondary villain, Jim Black started out stiffly, but warmed up to become a memorably scummy character. Other denizens of Deadwood include Anita Coletti. Annette Heilson and Melanie Murray. The play has one major drawback that could become a problem. It is about three hours in length, with intermissions. The script is so long the cast has to move along at a brisk pace. They don't have time to fool around, which is the best idea here. Maybe the director could eliminate elimi-nate some of the action, and Judge Nix could explain what has happened to fill in the plot. At its best, the players of "Deadwood Dick" look like they're having fun and they transfer that feeling to the audience. The melodrama is scheduled to play every Friday and Saturday through August at the Egyptian on Main Street. It also will play every Monday night under the tent at the Resort Center. Showtime is 7:30 p.m. |