‘Red Noses’ blends satire, allegory at GWC

Try to remember the musical “The Fantasticks.” Its first act was filled with fun and frolic, though in a satiric vein. After intermission, things got somewhat darker and moralistic.

Scratch the music and you have the same sort of format at Golden West College, where Peter Barnes’ “Red Noses” is occupying the Mainstage Theater. It’s a lot of nonsensical fun in the first act, from flagellants to flatulence, followed by some heavy-duty allegory in the second.

“Red Noses,” ambitiously mounted by director Tom Amen, is a “fun play” about plague, pestilence and death. Set in 1348 France, it follows a group of troubadours — led by a comical priest — as they traipse about the land bringing a dollop of cheer to plague victims, lepers and various other unfortunates.

The play’s only drawbacks are that it’s (a) too lengthy at just under three hours and (b) not as funny as it professes to be. While exceedingly well-staged, “Red Noses” can become tiresome and unappetizing, since a little of it goes quite a long way.

The Golden West production does not fail for lack of effort. Eric Bugosh renders a stirring performance as Father Flote, leader of the red-nosed band of entertainers who, once the plague has ended, finds it difficult to project amusement in a repressive society. His energy and enthusiasm carry the show handily.

Another sterling performance is turned in by Alec Malczynski as Rochfort, a renegade within a band of renegades who turns Judas to align with the winning side. Kirby Keel impresses as Marguerite, an earthy nun recruited into the “Noses.”

To better connect with modern audiences, Amen has worked familiar musical effects into his production. The main theme, “Life is Just a Bowl of Cherries,” opens and closes the show, while the lighter moments are underscored with music from “Butch Cassidy and the Sundance Kid” and strains of “The Godfather” precede the scenes involving Pope Clemente VI.

The latter character, haughty and aloof, is played with bitter irony by Bruce Alexander. Christian Navarro covers three characters with alacrity, but primarily the pope’s right-hand archbishop.

The “Noses” aren’t the only irritant to be dealt with by the high church.

Voracious pillaging “ravens” and evangelical “flagellants” come and go throughout the proceedings, each group stressing its particular form of weirdness. All three camps have one thing in common, however — their potential danger to those in power, principally the church.

Despite its strong performances and attempts to link it to current conflicts, “Red Noses” never really makes a solid connection.

The production’s most impressive aspects are Walter Huntoon’s setting — littered with skulls and bones — and Michele Jones’ beautiful lighting design.