‘Robin Hood and the White Arrow’: Rich in Legend, Poor in Retelling

At a provincial preview of one of Noel Coward’s lesser plays, a woman leaving the theater was heard to say, “Well, they’ve obviously taken a lot of trouble with it.”

That’s sort of the reaction one has to Tim Nelson and Kent Johnson’s musical version of the 12th century legend of “Robin Hood and the White Arrow,” at Buena Park Civic Theatre. In a program note, Nelson, who also directed, says they’ve been working on the show off and on for 15 years. One wonders why.

This is an energetic, buoyant evening in the theater, but considering its subject matter, it deserves more depth. What Nelson and Johnson have wound up with is a rather pale retelling of the legend that can be found in any children’s anthology.

The score, which is mostly derivative, is bouncy and melodic. But “Feastday,” which signals Robin Hood’s capture by the Sheriff of Nottingham, is reminiscent of a similar moment in “Brigadoon,” and “Our Dream, Our Prayer (Song of the People)” owes a lot to “Les Miserables.” Even the most ebullient, although anachronistic, number in the evening, the giddy “Brighten Your Day,” sounds as though it came from a late 1930s musical.

Nelson’s musical direction is flawless, his tempos sparkling, and in the ballads endearingly warm. His staging is visually attractive--take note of Jennifer Simpson’s simple but vibrant choreography, which is interestingly more successful with the male dancers. What Nelson hasn’t done is dig beneath the action, and Johnson’s book, for anything beyond a Classic Comics version of the tale.

Robert Neary, who just finished a year on Broadway in “Smokey Joe’s Cafe,” is Robin, but a pretty bland Robin; he seems to be walking through the show, not bothering to buckle his swash any more than necessary. Kayre Morrison’s Marian fares better, feisty and just the sort of woman one imagines would follow her dream lover into the forest.

*

Ron Samson’s Prince John tries to be as evil as he can, and succeeds, but the nasty, brattish son of Henry II is nowhere evident in his stereotypical characterization. August Sean’s Sheriff of Nottingham is so drab one wonders how he rose above gatekeeper.

Duane Allen Thomas provides unnecessary exposition as Allan-A-Dale, but does it with charm and good effect, and Darren C. Buckels is a stalwart and natural Will Scarlet. Joe Matarrazo’s Friar Tuck is the standard brave, jolly cleric, but his interest in Marian’s maid Sophie might upset the modern-day church.

Melinda Messenger is very funny as Sophie, as is Mary Murphy-Nelson as Elizabeth, the ebullient maid in King John’s court who explains how to “Brighten Your Day.” Colin Fitzpatrick stands out as the youngest member of Robin’s band, who works in King John’s castle and reports to Robin with professional elan.

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“Robin Hood and the White Arrow,” Buena Park Civic Theatre, Buena Park High School Performing Arts Complex, Magnolia Ave. at Academy Way. Fridays-Saturdays, 8 p.m.; Sunday matinees, Feb. 8 and 15. Ends Feb. 21. $12. (714) 562-3844. Running time: 2 hours, 15 minutes.

Robert Neary: Robin Hood

Kayre Morrison: Marian

Ron Samson: Prince John

August Sean: Sheriff of Nottingham

Melinda Messenger: Sophie

Mary Murphy-Nelson: Elizabeth

Duane Allen Thomas: Allan-A-Dale

Joe Matarrazo: Friar Tuck

Darren C. Buckels: Will Scarlet

Colin Fitzpatrick: Tom

A Buena Park Civic Theatre production of Tim Nelson and Kent Johnson’s musical version of the legend. Produced by Joane Evans. Direction/musical direction: Tim Nelson. Choreography: Jennifer Simpson. Scenic design: Mike Hayes. Lighting design: Jim Book. Sound design: David Edwards. Costumes/mask design: Gary C. Castler. Stage manager: Terry Russell.