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It's a clever idea with clever results: translating a few of Geoffrey Chaucer's "Canterbury Tales" into a musical comedy with a rock-medieval score.
For those who hadn't read the Middle English landmark work in school, it's about pilgrims on the road to Canterbury, England, who tell each other stories to pass the time. Some of the characters, such as the Widow of Bath, have become better-known than Chaucer.
Written entirely in verse, the show appeared briefly on Broadway in 1969. The Oyster Mill Playhouse production wisely combines spare sets and lighting with painstakingly accurate and beautiful costumes.
Well-staged by Larry Wineland in his debut as director, the show has much to recommend it: witty lyrics that underscore how little has changed in the battle of the sexes since the late 14th century and side-splitting humor that may embarrass the prudish. Chaucer was nothing if not bawdy.
Yet, despite the cleverness and the infectious energy level of a skilled cast, the play is too long and the music far from outstanding. Of course, none of this is the fault of the players, who give the show their all. This is largely an ensemble piece, and except for some inconsistencies in accent, the actors work well together.
In the larger roles, Susan Nelson Helm kicks up her heels with gusto as the libidinous Widow, working on obtaining husband No. 6. Howard Hurwitz, the Steward, is particularly funny as the older man who decides to marry a young wife.
Daniel J. Kostelec, the Squire, is hysterical as the lover-and-lust-sick youth in different guises.
Stephen Anderson, as the Clerk of Oxford, and Fran Horkowitz, as the Old Hag, share one of the play's few serious, tender moments.
Krysta Noelle, who also choreographed, brings a lovely soprano to the role of the Prioress, who sings the show's anthem about love conquering all.
Mike Stubbs eats up the stage as the combative, often drunk, miller. Jen Shorey is the nun, while a bemused Alan. B. Wiser is the merchant.
Special kudos go to costume designer Joyce O'Donnell.
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