I gave this show the acid test on Thursday night.
After a bunch of really long days and correspondingly short nights, I could easily have opted to just postpone this opening night, go straight home and crawl into bed.But what better show than "Sword of Zorro" for a chance to catch up on some ZZZZZZZs?
I couldn't fall asleep during this DSP revival, however. I needed to stay alert just in case there were any reportable accidents to compare to the side- . . . er, pants-splitting curtain call that befell Shawn Maxfield when he played Zorro six years ago.
No such show-stoppers this time, although there was one minor glitch late in Act One involving a reluctant piece of scenery.
As usual, the DSP cast, a mix of familiar faces and a few newcomers, blends equal parts of high energy and acting/singing talent.
Chandler Bishop, a recent Southern Utah University student, is making his DSP debut as the two-faced Don Diego/Zorro - cowardly and wimpish in public, but secretly the dashing hero.
He's up against the cunning and evil El Capitan Ramon (Jack Drayton), who considers the people in Capistrano merely stupido.
Jumping into the fray are bumbling Sgt. Garcia (Norman E. Plate), Ramon's less than bright henchman; Don Diego/Zorro's quiet (but very funny) sidekick, Bernardo, played by Jerry Rapier, who also does a nice turn as peasant Pedro, and K.C. Eldridge as elderly, rebellious Senor Santiago.
A trio of lovely senoritas - Estrella Santiago (who's hot for Zorro), Marguerite, her feisty best friend, and Isabella, anxious to get back home to Madrid - are well played by Danielle Gutierrez Matheson, Mary Jo Eisenbraun and Gayle Hayes, respectively.
With her flashing Spanish eyes and ethnic lineage, Matheson gave the show a shot of Latin-tempered energy, combined with comedy reminiscent of Carmen Miranda.
The familiar hallmarks of DSP's productions - pun-filled dialogue and fast-paced musical numbers - are in plentiful supply in "Zorro."
Ramon's alleged condolences to Don Diego over the suspicious death of his father: "I'm sorry about the loss of your extinguished . . . er, distinguished father."
One of the funniest segments was Zorro's first attempt at disguising himself - with a scarf minus holes for his eyes. He used his sword like a blind man's cane to feel his way around the stage.
The swordplay itself, choreographed by Tobin E. Atkinson, was first-rate, even with a flair that leaned more toward Laurel & Hardy than Fairbanks & Flynn.
Edward J. Gryska's expert direction, Sue Talmage's music, Seven Nielsen's scenery, Ruth Todd's costumes and Todd Mangiapia's lighting were superb.
Norman E. Plate credits Beth Bruner with assisting him in adapting and updating Peter VanSlyke's script - but I suspect Charro had a hand in it, too.
The post-show olios, an energetic "Clap Yo' Hands!" revue, was directed and choreographed by Joy Davis. It was a rapid-fire collection of great Broadway tunes, including the seldom-heard "Stereophonic Sound" from "Silk Stockings," Norman Plate's hilarious rendition of "You're the Top" and a stageful of others.
"Abba Dabba Honeymoon" had Eldridge and Plate running through the audience in gorilla costumes.