A Well-Navigated ‘River’ : Stage: Starlight Musical Theatre’s version of the Tony winner is high-quality, despite the distractions of the venue.

SAN DIEGO —  A placard bearing the following disclaimer signals the beginning of Starlight Musical Theatre’s current production of “Big River.”

“Notice: Persons attempting to find a motive in this narrative will be prosecuted; persons attempting to find a moral in it will be banished; persons attempting to find a plot in it will be shot. By order of the author. Mark Twain.”

This foreword is taken directly from Mark Twain’s 1885 classic “The Adventures of Huckleberry Finn.” So, too, is the plot of “Big River.” The 1984 Roger Miller/William Hauptman adaptation follows Twain’s text closely and meets with good results. Like Twain’s novel, “Big River” is eminently fun and entertaining; like Twain’s novel, “Big River” is an important work, rich with meaning, purpose and, despite the author’s warning, moral values.

Under John Montgomery’s deft direction and choreography, Starlight’s “Big River” is a quality presentation. The action flows smoothly, the dance numbers are executed cleverly, and the singing is full of life. If one can look past the Starlight Bowl’s numerous distractions--planes flying overhead and audience members gnawing on food and talking incessantly, to name two--this “Big River” is worth a visit.

Twain’s scathing indictment of slavery is simply constructed. Huck Finn (Scott Westmoreland) and Jim (Michal Connor) are in the process of running away from their previous lives. Huck was brutalized by the various adults who sought to raise him. Jim, a slave, was separated from his wife and children and runs away in hopes of being reunited with them.

Huck and Jim meet up and decide to travel down the Mississippi River together. Despite the prevalent racial prejudices of the mid-19th Century, Huck and Jim forge a strong friendship. They float down the river on a raft, get into considerable trouble and learn a great deal about America and even more about themselves.

Country singer Miller won both a Tony Award and a Drama Desk Award for his “Big River” music and lyrics. Miller’s hillbilly-tinged songs are clever, toe-tapping compositions that provide worthy accompaniment to Twain’s story.

The best tunes--”Guv’ment,” “I, Huckleberry, Me” and “Muddy Water”--are all in Act I, but Miller’s writing maintains a high level of consistency throughout. Miller departs from his country roots with a few Gospel songs--”The Crossing” and “Free at Last”--both of which demonstrate the composer’s talent and versatility.

As Huck, Westmoreland delivered a fine performance. A bit shaky at the start, he seemed to be working too hard for laughs early in the play. After belting out an upbeat, joyful rendition of “I, Huckleberry, Me “ halfway through Act I, Westmoreland maintained a near-flawless character.

Connor’s Jim was less believable. Connor, a concert soloist, has a splendid singing voice, but his acting is somewhat stiff and uncertain. He also seemed disconcerted by the constant air traffic flying over the stage. In Starlight’s outdoor productions, actors are instructed to freeze when planes buzz by. On several occasions, Connor seemed distracted and froze at the wrong instant.

For the most part, the 22-member cast offered solid, lucid performances. Scott Dreier’s Tom Sawyer captured the character’s exuberant humor and seemed to be an audience favorite. Dreier seemed to have a ball with his only solo number, “Hand for the Hog.”

Starlight veteran Michael McCarty breathed a consistent humor into “the King,” one of the two river swindlers, and Jim Marshall’s “the Duke” was appropriately melodramatic and exaggerated. B. W. Wiff’s comic, drunken rendition of “Guv’ment” was a highlight of the show.

Scenic designer Heidi Landesman faced a daunting task in creating the sets for “Big River.” Much of the action takes place on a raft, which must move back and forth across the stage, and Landesman’s design allowed the play to flow swiftly from scene to scene.

The play itself has run a full course. “Big River” was first produced in 1984 at the American Repertory Theatre in Cambridge, Mass. Later that year, La Jolla Playhouse artistic director Des McAnuff directed a production that played to sold-out houses in La Jolla and later enjoyed a successful run on Broadway. McAnuff’s staging was nominated for 10 Tony Awards in 1985 and received seven, including Best Musical. The traveling production of the Broadway show subsequently came to San Diego.

Now “Big River” is in the midst of its third San Diego run. Starlight’s production demonstrates why this musical received such accolades.

“BIG RIVER”

Music and lyrics by Roger Miller. Book by William Hauptman. Adapted from Mark Twain’s “The Adventures of Huckleberry Finn.” Director and choreographer is John Montgomery. Musical directed and conducted by Lloyd Cooper. Sets by Heidi Landesman. Costumes by Nancy Massimi. Lights by Gregory Allen Hirsch. Sound by Bill Lewis. Stage manager is David Schrage. With Scott Westmoreland, Michal Connor, Michael McCarty, Jim Marshall, Christine Phelps, B. W. Wiff, Scott Dreier, Fred Bailey, Gloria Marinacci Allen and Jane Seaman. At 8 p.m. daily through June 30 at the Starlight Bowl, Balboa Park. Tickets are $14-$25. Call 544-STAR.