This is an informal look at the best of the arts on the Upper and Mid-Cape, or, rather, the best of the shows I have attended. It is is a fairly representative sampling of the offerings in theater, musical theater, vocal and instrumental concerts, art galleries and events, both amateur and professional, from Cape Codders and others.

This week is a review of the best plays and musicals of the year, in more or less chronological order, starting in January. Next week, we will list the best arts, cultural, and music events.

“Side by Side by Sondheim”

The Cotuit Center for the Arts’ production of “Side by Side by Sondheim,” was directed by Mark LiCalsi. The perfect antidote to a cold winter night, the show was a splendid review of Sondheim songs. His witty and intricate lyrics sometimes taxed the mental agility of the listener, but the songs were always entertaining and engaging, taken from a number of different musicals, some very well-known, others more obscure.

The set was elegant: a pair of chandeliers, a plush, red velvet curtain folded against the back wall, and two enormous grand pianos flanking the stage, played with style and precision by Elizabeth Beckel and Nancy Wendlandt.

But what made this show so outstanding was the professional and authentic presentation by vocalists Laura Garner, Lily Mae Harrington, Martha Paquin, Kevin Quill and Glenn Wall, and narrator Todd Bidwell. They not only sang each solo, duet, or ensemble piece with wonderful precision, expression, and tone, they became the characters in each vignette, bringing the audience into one little world of musical theater after another.

“I Hate Hamlet”

“I Hate Hamlet,” written by Paul Rudnick in 1991 and directed by Toby Wilson for the Barnstable Comedy Club, was a fast-paced, witty tale of one man’s confrontation with Shakespeare’s “Hamlet,” and with his own theatrical career and the people around him.

The cast was excellent, exuberantly bringing out the heart and soul—and eccentricities—of each character: an angst-ridden television actor whose series had just been canceled (Mike Devine); a swordfighting John Barrymore as Hamlet (Michael Ernst); a chain-smoking agent with a romantic past (Diana Silvester); a 29-year-old virgin (Katie Beatty); a ditzy real estate agent (Susan Cannavo); and an over-the-top Hollywood director (Chris Compton).

Though “I Hate Hamlet” was not a Broadway success, its treatment by the Barnstable Comedy Club was a not-to-be-missed production for its wonderful dialogue, its commentary on Shakespeare and the theatrical world. But the best parts were the excellent casting and the enthusiasm with which each of the actors delivered their lines.

“The Sound of Music”

The Sound of Music” is about the power of music, its power to heal a family, to honor a nation, to inspire and to bring joy. Ably directed by Joan Baird, the Falmouth Theatre Guild’s production was a delight from beginning to end, resounding with fine music, singing, dancing, and acting, and supported by impressive sets, costumes, and technical know-how. But, above all, it powerfully conveyed the indomitable spirit of Rodgers & Hammerstein’s memorable show, and the glory of music.

Jodi Edwards, as Maria, led a large and talented cast. She was perfect as Maria, the novice nun whose heart was too full of music to settle down to the quiet and dutiful life of a nun. She had a lovely singing voice, joyful and clear, and moved gracefully across the stage.

This was a superb production of one of the classics of musical theater.

“Anything Goes”

The set for “Anything Goes” was magnificent. A splendid ocean liner docked on the stage at the Cotuit Center for the Arts, beckoning the audience to cast their cares aside and climb aboard for a madcap adventure. Designed by Nicholas Dorr, the ship was two stories high, with staircases on either side of the ship. Cast members gracefully moved up and down, singing and dancing with ease. Changeable cabins, deftly maneuvered by the stage crew, added to the flexibility of the set.

Directed by Michele Colley, “Anything Goes” featured a large and talented cast of all ages, great Cole Porter songs, glamorous costumes, and an entertaining storyline.

Eileen Fendler played Reno Sweeney, doing an outstanding job on all of her vocal numbers, commanding the stage, with or without the fine chorus. “Blow, Gabriel, Blow” was particularly effective, but she also shone in “I Get A Kick Out of You,” “Anything Goes,” “Let’s Misbehave,” and “Take Me Back to Manhattan.”

Moonface Martin (Pete Steedman) played a dumb gangster, “Public Enemy No. 13.” His “Be Like the Bluebird” was hilarious, and his comic timing was perfect, as he advised his friends to “Remember, it is always darkest right before you turn the lights on.”

“The 39 Steps”

Directed by Mary Arnault, “The 39 Steps” was a wonderfully imaginative show, using only four actors to play 140 roles, quickly and comically switching back and forth between roles, often with the addition or removal of a hat, sometimes with an elaborate, but deftly executed, on-stage costume change.

The action shifted from London to the highlands of Scotland, from the theater to a train to a farmhouse, a mansion, a police station and more, with just a hint of props and stage furniture.

“Night Falls on Emerald City”

In “Night Falls on Emerald City,” a one-person show, Larry Marsland became Judy Garland, without makeup or costume, using only subtle gestures and vocal expressions. He provided an intimate portrait of the much loved, but troubled star, one year before her death from a drug overdose at the age of 47.

“Trial by Jury” and“Pirates of Penzance”

The College Light Opera Company offers a new fully staged musical every week throughout the summer at Highfield Hall, its 32-personcast of college students performing one show while they rehearse for the next, and audition for the one to follow. It is an intense schedule and CLOC should be on the list for that alone, but the shows are also some of the best around.

This year, the opener, a double bill of Gilbert & Sullivan shows, “Trial by Jury” and “Pirates of Penzance,” a nicely matched pair, stood out.

“Trial by Jury,” a half-hour curtain raiser first staged in 1875, was presented in 1930s-style costumes, in shades of blacks, whites, and grays, against a courtroom backdrop in the same colors. The operetta, which was entirely sung, told the story of Angelina’s breach-of-promise suit against Edwin. The all-male jury and the all-female chorus of reporters followed the case, as presented by the various legal personnel, until it was all resolved to everyone’s satisfaction by the judge.

As bright and colorful as “Trial” was muted, “Pirates of Penzance” was spirited and full of fun. The vocals were excellent, and the orchestra provided just the right balance, supporting the chorus and soloists with ease, and providing dramatic flourish when appropriate. The set features sparkling ocean waves in gorgeous shades of blue and green.

“Man of La Mancha”

The final show of the CLOC season, “Man of La Mancha,” directed by Corin Hollifeld, was also among the season’s very best. From the first look at the set, the richly textured, but crumbling walls of the 16th-century dungeon to the final triumphant, inspiring strains of “The Impossible Dream,” the show was magnificent. Brian Acker was outstanding as Cervantes/Don Quixote, capturing the essence of each of these very different men in his stance, vocal expression, and gestures. He and the rest of the company breathed new life into the show’s most frequently heard hit song, giving “The Impossible Dream” solid context. He was supported by an excellent cast and vibrant orchestra.

“Unnecessary Farce”

“Unnecessary Farce” was a genuinely funny, wonderfully crafted play. An undeniably silly, but not preposterous, tale, it pulled the audience in, and kept them laughing from beginning to end.

Directed by James Brennan for the Cape Playhouse, the play told of two earnest junior policemen intent on “taking down the mayor”setting up an undercover stakeout in a hotel. The beautifully constructed set showed two adjoining, mirror-image hotel rooms, one serving as the stakeout room, and the other, the mayor’s room. The policemen can see what happens in the mayor’s room through their video camera setup.

The show was often a two-ring circus, with activities in one room mimicking what was happening in the other—with a twist: one scene has two characters in the throes of passion on one bed, while on the bed in the adjacent room two characters struggle for control of a gun.

But it was not only the physical humor that was so appealing. The script was very witty, and the plot twists kept the audience intrigued—and laughing out loud. The seven professional New York actors in the show all had expert comic timing and delivery and worked well as an ensemble. All of them had appeared in Cape Playhouse productions in the recent past, and it was nice to see some favorite actors return.

“Crazy for You”

The Cape Playhouse’s production of the Gershwins’ “Crazy for You,” directed by Mark Martino, had “everything—and more,” as the man near us said to his wife, as the audience floated out of the theater on opening night, buoyed by the Broadway extravaganza we had just witnessed.

Matt Loehr was magnificent as the lead—Bobby Child—tap-dancing vibrantly across the stage, on top of a limo, a table, and a precarious arrangement of luggage, singing his heart out, and demonstrating the fine rubbery expressiveness of his body as he fell in love at first sight and tasted some potent whiskey.

He was supported by a large and very talented cast of colorful characters of New York and the Old West and a splendid orchestra that was free to play out because the cast was miked. The multiple elaborate sets were vivid and detailed, while retaining an appropriately cartoonish look, and the costumes were varied and exquisite, from cowboy duds to feather-bedecked fans. In short, the playhouse provided a very good reason to skip a trip to New York and see a fabulous Broadway show right here on the Cape.

“Quills”

“Quills” was thoughtful, wickedly funny, beautifully written, and professionally presented by the Cotuit Center for the Arts. Directed by Mary Arnault, the acting, the sets, the costumes, the lighting and the sensitivity of this production were exemplary.

Doug Wright, the author of “Quills,” wrote that art is “innately subversive,” that art, including writing, must be used to challenge the status quo. His Marquis de Sade was driven to write, even when his writing implements, his quills and more, were taken from him, in brutal acts of censorship, and, in the end, his art triumphed, changing the status quo.

The play was only loosely based on the life (and death) of de Sade. The play was no less intriguing as fiction, and it may have encouraged people to learn a little more about the real life of the man who gave us the word “sadism” and to explore the issues related to artistic censorship a little more deeply. As in life, issues were multidimensional and complex.

“Blithe Spirit”

The Woods Hole Theater Company’s production of “Blithe Spirit” was a ghost story—not spooky or scary, just slightly unsettling; it was also funny, loving (for the most part), and unpredictable. Directed by Lisa Smith of East Falmouth, the production was nicely done: a lighthearted look at séances, death, love, and marriage, with a fine ensemble cast.

Written by Noel Coward in 1941, “Blithe Spirit” offered plenty of witty dialogue and unexpected plot twists as novelist Charles Condomine (Norbert Brown of Bourne) seeks out a “complete charlatan” of a spiritual medium to use as a model for a book he is working on. Madam Acati (Louise Patrick) was just eccentric enough to be both hilarious and believable. She managed to bring back Charles’s dead wife Elvira (Jeanne Lohnes), who was strikingly ghostly, as well as sweet, catty, and manipulative.

Mr. Brown’s Charles melted boyishly in Elvira’s presence, and was torn between his dead and living wives, wanting to keep them both. Michelle Slattery, as the living wife, Ruth, was also entertaining, giving us a full range of emotions: skepticism, anger, jealousy, protectiveness, and more, as the story progresses.

“Jesus Chris Superstar”

Alex Valentine as Judas Iscariot, alone, was worth the price of admission to the Falmouth Theatre Guild’s production of “Jesus Christ Superstar.” Mr. Valentine had the perfect voice, attitude and angst for his conflicted role as Jesus’ friend, critic, and ultimate betrayer.

The show, directed by Eric W. Gomes, mixed three time periods, 30-something AD, the 1970s, and today, but it all worked. Jesus (Bobby Price) was more of a beloved “community organizer” (who can heal the sick) than a spiritual leader, while Corrine E. Coates, who played Mary Magdalene, was a highlight, with her bouncy “Everything’s Alright,” sung to comfort Jesus, and memorable “I Don’t Know How to Love Him.”

Jim Hill brought welcome humor and excellent vocal skills as a punk King Herod, who, along with his court of amusing characters, mocks Jesus as the “King of the Jews.”

Honorable Mentions

The year brought two new theater production companies, Theater Under the Stairs directed by Christopher Compton and Holly Erin McCarthy and Wit’s End (Really Lively) Arts directed by Laura Garner.

Theater Under the Stairs presented “No Exit,” “Medea,” and “Alice in Wonderland” at the Cotuit Center for the Arts, as well as “Avenue Q” at the Cape Rep Theater in Brewster.

Wit’s End opened with a seasonal “Christmas Punch” at the Cotuit Center for the Arts.

Photo by Brend Sharp. Ruth dances the Conga with the Naval Cadets.

Sisters Eileen and Ruth leave Columbus, Ohio to seek their fortunes in New York City in Betty Comden and Adolf Green’s “Wonderful Town,” presented by the College Light Opera Company at Highfield Theatre in Falmouth this week. Music is by George Gershwin.

The CLOC production is directed by Michael Scarola, with music direction by Beth Burrier.

Alexa Devlin is wonderful herself as Ruth, the witty, intelligent sister who wants to be writer, but has no luck with men, and Elaine Daiber is sweet Eileen, the beautiful sister, an aspiring actress who charms men without even trying.

It is the summer of 1935 as the play opens. A vibrant James Soller is the tour guide who describes the sights and sounds of quirky Christopher Street in Greenwich Village to an eager group of tourists, introducing us to the main characters along the way. It is a great opening number with lots of activity on both levels of the set, sending the message: “Life is gay, life is sweet, such interesting people life on Christopher Street.”

In one of the nice moments in the show, the crowds of tourists and residents part at the end of the song, revealing the travel-weary sisters, suitcases and typewriter case in hand, ready to take on the town—after a good night’s sleep.

Fortunately, or not, they meet Mr. Appopolous (Kyle Yampiro), a landlord and would-be famous painter, who just happens to have a recently vacated apartment  available. Mr. Yampiro brings warmth and humor to this role.

It is not a perfect apartment by any means. Passersby drop in unannounced and call out to them through the street-level window, and explosions shake the apartment on a regular basis from subway construction down below.

The sisters have second thoughts about coming to New York in their engaging duet: “Why, oh, why, oh why oh, why did I ever leave Ohio?”

Photo by Richard Harbison. Alexa Devlin as Ruth and Elaine Daiber as Eileen regret leaving Ohio.

The sisters display their attraction, or lack of attraction to men in a comical subway scene, in which the sisters separately ride the train. Ruth is ignored, while every man on the train relinquishes his seat for Eileen and ogles her for the rest of the trip.

Although she is too appealing to be convincing as the plain sister (Ms. Devlin lights up the stage whenever she is on it), Ms. Devlin is buoyant and funny in “One Hundred Easy Ways to Lose a Man” and “Swing.” She has some great dance moves in “Conga,” one of the highlights of the show, even as her character is trying to discourage the Brazilian Naval Cadets she is trying to write a story about  from carrying her away in their lively dance.

There is also a great series of scenes in which an editor (Robert Baker, played by Brad Baron) reads the stories that Ruth has submitted while Ms. Devlin and other cast members act them out on the upper level of the stage.

Ms. Daiber does a fine job as Eileen, though we must wait for the second act to see her really interact with men. In “My Darlin’ Eileen,” the Irish police officers (Eileen has been arrested) croon to her, the “fairest colleen that ever I’ve seen,” even as she tells them she is not Irish. Complete with step dancing, this is another high point in the show.

Brad Baron is excellent as the kind-hearted editor who first tells Ruth to go home—a million kids like her come to New York to seek their fortunes—and later stands up for her. His voice is deep and expressive in “What A Waste,” “A Quiet Girl,” and “It’s Love.”

Brian Aker is The Wreck, a former football player living on his wits, and with his fiancée Helen (Edith Grossman). His big number, “Pass the Football,” is delightful.

Brian Shaw is fabulous as Speedy Valenti, who runs a night club and just can’t stop dancing.

The orchestra again does a magnificent job, though it was once or twice too loud for me to comfortably hear the lyrics. The music is jazzy and engaging, often more reflective of the early 1950s (the musical premiered in 1953).

The grand finale: "It's Love."

“Wonderful Town” is an upbeat show with some great ensemble numbers. There is one final show, tonight at 8 PM. Tickets are $30 and may be purchased by calling  508-548-0668.

Next week, CLOC presents “On the Twentieth Century,” another Comden and Green collaboration. Performances are Tuesday through Saturday at 8 PM, with a Thursday matinee at 2.

Broadway came to Cape Cod last weekend in the form of three superb soloists, sopranos Rosena Hill and Sarah Uriarte Berry, and tenor Edward Watts, supported in grand style by the Cape Cod Symphony Orchestra, under the direction of Jung-Ho Pak. Featuring music from shows currently on Broadway, both original productions revivals, the concert was energizing, inspiring, heart-warming, and nostalgic.

The show began with an imposing voice-over narration from “The Phantom of the Opera,” one of the most popular musicals of all time, setting the stage for a dramatic entrance by the orchestra, in a selections of songs from that show. The brass, keyboard, flute, and strings were highlighted by turn as the orchestra expressed the gentle and powerful moods of the music before ending with the softly flowing “Music of the Night.”

Pak told the audience that the concert was “ecologically minded” due to “the amount of gasoline we are saving by not going to New York. Broadway is coming to us!”

And it was wonderful. Not only did we hear songs from 14 major Broadway shows, but we also had the rare experience of listening to three top-notch soloists, all delightful individually, in pairs, and as a trio. Throughout, Pak and the soloists provided background information on the shows, and the overhead screen reminded us of which musical the song being performed was from. Occasionally patterned lights were used on either side of the stage to add a little special ambiance.

The show took off with a “Momma Mia Medley” performed by Hill, Berry, and Watts as a trio, an upbeat, animated display of the power of all three voices. They immediately drew the audience in with their outstanding voices, engaging personalities, and simple, but spirited choreography.

Berry led a fun vampy “All That Jazz” from “Chicago,” dueting with the timpani; followed by Hill’s richly emotional “I Am What I Am,” from “La Cage Aux Folles,” delivering the potent message “Life’s not worth a damn until you can say I am what I am.”

In a similar mood of declaration of self, Hill followed with a plaintive “I’m Here,” from “The Color Purple,” in which she appeared. “I’m thankful for loving who I really am. I’m beautiful. Yes, I’m beautiful, and I’m here.” Her voice was warm and resonance, and mellow, a joy to listen to. The audience loved it, heaping applause on her.

“Always Look on the Bright Side of Life” offered a cheery change of pace by the trio, and “A Chorus Line” was presented as an instrumental medley. There was an exciting tension in “I Hope I Get It,” a flowing ease in “At the Ballet,” and a romantic vitality  in the violin-filled “What I Did For Love.”

Watts  was sexy and funny in “Can’t Take My Eyes Off of You,” from “Jersey Boys.” He flirted with members of the audience from the stage and things got hotter when he descended from the stage from the stage to tease the audience members with his charm.

Berry and Hill teamed up for a medley from “Wicked,” including the humorous “Popular,” in which Berry was delightfully shallow; the tender and velvety smooth “For Good,” and the joyful “Defying Gravity.” This was clearly an audience favorite.

Berry, right, instructs Hill on how to be “Popular,” in the song from “Wicked.” (Photo by Jerome Karter.)

The first half of the show ended with a bouncy “Supercalifragilistixexpialidocious!” from “Mary Poppins,” performed faster and faster until Watts collapsed in exhaustion and fell to the floor.

Act 2 opened with the three vocalists in tie-dyed hippie attire, for songs from “Hair.” Hill began with a mood-setting “Aquarius,” and Watts was fantastic in “Hair,” authentically (except for his short hair) recreating the sound of the original (which I saw on Broadway long, long ago). There was lots of feeling, hippie ambiance, and  psychedelic lighting effects.

To introduce the remaining numbers in the show, all Stephen Sondheim contributions, Pak came into the audience to quiz the audience, rewarding them with pairs of CCSO tickets for correct answers to questions about the Broadway songs.

Berry followed with a beautifully sorrowful rendition of “Send in the Clowns” from “A Little Night Music,” the clarinet soulfully echoing the melody.

“Tonight” from “West Side Story” brought out the operatic qualities in the voices of Hill and Watts. Their voices, together and separately, were breathtakingly beautiful in this song about the discovery and declaration of love: “I saw you and the world went away.”

“Mamba,” also from West Side Story, was full of Latin rhythms and percussion, tension, and vitality, a great show of the range and diversity of the orchestra.

Two songs from “Phantom of the Opera” ended the show. “All I As of You” was sung by Berry and Watts, with Watts. Watts gave us an outstanding “Music of The Night,” which showed off his impressive range, his significant talent for expressing emotion, and his big powerhouse ending.

The show ended with a sing-along from “Hair,” “Let the Sun Shine In,” as the disco lights pulsed and the audience clapped and sang along to the beat, letting the sun and the music warm our hearts.

The musical, which premiered on Broadway in 1953, takes place in ancient Baghdad and follows a “public poet” (Brandon Grimes) who is finding a hard time earning a living by selling his rhymes. His beautiful daughter Marsinah (Samantha Helmstetter) joins him in “Rhymes Have I,” a lovely duet. Mr. Grimes has a commanding stage presence and an appealing comedic charm, as well as a good voice, and is perfect for this role as a lovable con artist. His height is an advantage, but it is his personality and acting skill that makes him a hit, and the show along with him.

Ms. Helmstetter has a beautiful soprano voice, soaring easily and gracefully to the high notes. Her fresh romantic charm makes her character believable.

Since “a man can sell anything in this world except poems,” the poet assumes the identity of a beggar named Hajj in order to claim a favorable spot to beg. He convinces others that he has the power to make and remove curses, which brings him wealth, most of which he hands over to Marsinah, who contemplates how to spend it in “Baubles, Bangles, and Beads.”

Hajj’s wealth gets him arrested and the police bring him to face the Wazir (Zach Garcia), who, convinced that Hajj has special powers, takes him on as his personal wizard, making him an emir. The Wazir has an amorous wife, Lalume (Amanda Horvath), and she and Hajj hit it off quickly.

Mr. Garcia is an amiable villain, and Ms. Horvath is engaging as the lusty first wife in the harem, who knows what she wants and how to get it. And she knows how to sing, too, doing a fine job on “Not Since Neneveh,” in which she is neatly carried in a reclining position.

Meanwhile, Marsinah meets the Caliph (Justin John Moniz) while he is disguised as a gardener. It is love at first sight for them too (“Stranger in Paradise”), but the road to marriage is full of twists and turns. Though Mr. Moniz’s Caliph is somewhat subdued when speaking, he has a wonderful singing voice, especially in “Stranger in Paradise” and “Night of My Nights,” in which he gives instructions for his wedding celebration.

Michael Puglia plays the poet and philosopher Omar Khayam, starting the show off with a heartfelt “Sands of Time,” and offering wit and wisdom along the way.

There are many fine ensemble numbers in this show, some romantic, some powerful, and some humorous. “Was I Wazir” provides some very funny choreography and pantomiming from the policemen and guards, while the women dancers offer graceful exotic dancing throughout.

Kate Gosnell’s dancing, as Nedar, a genie, opens and closes the show, a nice touch.

The costumes sparkle; there are many-hued flowing skirts and pantaloons, ornate vests, full sleeves, and sashes, and harem outfits that leave midriffs exposed for belly dancing. The set is fairly simple, but effective, consisting of the outlines of a mosque, but it is the sumptuous costumes that provide the eye with ever-changing visual splendor. Costume design is by Kate Boucher; Tim Boucher is set designer and technical director.

The music for “Kismet” was composed by Robert Wright and George Forrest, much of it based on the classical music of Alexander Borodin (1833-1877), a Russian romantic composer. Themes from his opera, “Prince Igor,” including the Polovtsian Dances, and his string quartets are evident in “Stranger in Paradise,” “Baubles, Bangles, and Beads,” “Night of My Nights,” “Sands of Time,” “Fate,” “The Olive Tree,” and “Gesticulate.” Borodin was posthumously awarded a Tony Award in 1954 for the show.

The orchestra does a great job with this material, supporting the vocalists and the energetic dancers throughout and contributing drama, romance, humor and exotic flavor to the show.

“Kismet” continues through Saturday at 8 PM at Highfield Theatre in Falmouth. There is also a matinee Thursday at 2 PM. Tickets are $30 and may be purchased by calling 508-548-0668, or by visiting the CLOC box office, 58 Highfield Drive in Falmouth. Box office hours are Monday through Saturday from 10 AM to 12:30 PM, 2 to 5 PM, and 7 to 9 PM.

Kyle Yampiro as Nathan Detroit and Miss Adelaide (Brynn Lewallen as Miss Adelaide in CLOC’s “Guys and Dolls.”

By MARILYN J. ROWLAND
Frank Loesser’s “Guys and Dolls,” currently being presented by the College Light Opera Company at Highfield Theatre in Falmouth, is one of those rare musicals in which nearly every song is a winner. It has such memorable solos and duets as “If I Were A Bell,” “I’ve Never Been in Love Before,” “Adelaide’s Lament,” and “Sue Me,” as well as show-stopping ensemble pieces: “The Oldest Established, Permanent Floating Crap Game,” “Take Back Your Mink,” “Luck Be A Lady Tonight,” and “Sit Down You’re Rockin’ the Boat.”

It tells an engaging story of gamblers, gangsters, showgirls, cops, and missionary workers in New York City during the 1930s, based on the short stories of Damon Runyon (as rewritten by Jo Swerling and Abe Burrows). The colorfully named characters (Harry the Horse, Nicely-Nicely) speak in picturesque language that combines vernacular street talk, formal speech (avoiding contractions, for instance), and unusual constructions, adding a humor of its own.

After a fine overture by the orchestra, the show opens on a busy street scene in New York, the night skyline represented by white rectangles and strings of lights. There is an entrance to the subway and a newspaper stand. The assorted population of the city saunters by: sailors, high society women, showgirls, schoolgirls, and assorted characters of the city.

Nicely-Nicely Johnson (Conner Lewis), Benny Southstreet (Gabriel Di Gennaro), and Rusty Charlie (Alexander Daly) open with “Fugue for the Tinhorns” (I Got the Horse Right Here), a creative three-part fugue on picking horses, and the cast members render it in a satisfyingly upbeat fashion, though they seem very young and innocent, not the seasoned gamblers they are portraying.

Mr. Lewis and Mr. Di Gennaro later unleash an energetic “Guys and Dolls” ( When you see a guy/reach for stars in the sky/You can bet/that he’s doin’ it for some doll.)

Members of the Save-A-Soul Mission enter, introducing Sarah Brown (Rachel Marschke) and Arvide Abernathy (Michael Puglia), who are seeking souls to save.

They are ignored by the gamblers, led by Nathan Detroit (Kyle Yampiro), who need a place for their floating crap game, safe from the prying eyes of Lt. Brannigan (Patrick J. Hagen). “The Oldest Established” was a rousing production with the men costumed in colorfully diverse suits and hats, and it ended with a dramatically held pose.

Miss Adelaide (Brynn Lewallen), Nathan’s fiancée of 14 years, arrives with an anniversary present for him, the card reading, “Sugar is sweet, and so is jelly, put this belt around your belly.” Ms. Lewallen shines in this role, giving Miss Adelaide a sweet saintliness as well as a streetwise sensibility.

Her songs, “A Bushel and a Peck” (with the Hot Box Girls gloriously feathered as chickens, at the nightclub where she performs), “Adelaide’s Lament,” “Take Back Your Mink,” “Sue Me” (with Mr. Yampiro) and “Marry the Man Today” (with Ms. Marschke) are always enjoyable and humorous.

Her  lament (“just from waiting around, for that plain little band of gold, a person can develop a cold”), sung to Nathan, is particularly endearing, and the duets are great fun.

Sky Masterson (Brad Baron) arrives on the scene, and Nathan hopes to find a bet he cannot lose, in order to win from him the $1,000 he needs to pay for the use of the Biltmore Hotel Garage for an evening of crapshooting. This leads to Sky’s involvement with Sarah Brown, and the two fall hard for each other, though, of course, problems separate them for a time.

Mr. Baron and Ms. Marschke blend harmoniously as they sing “I’ve Never Been In Love Before,” and Mr. Baron has a strong speaking and singing voice. Ms. Marschke’s speaking voice was much quieter, and it was sometimes hard to understand her, but she was exuberant in “If I Were A Bell” and her duos with Mr. Baron and Ms. Lewallen.

Mr. Puglia, as Arvide Abernathy, who has a relatively small role in this show, contributes heartfelt emotion with his expressive rendition of “More I Cannot Wish You.”

“Sit Down, You’re Rockin’ the Boat,” led by Mr. Lewis, was terrific, full of vitality, as was the closing reprise of “Guys and Dolls” by the ensemble.

Brandon Grimes is great as Big Jule, who brings his own dice to the game; he has removed the spots, but remembers where they were; and Amanda Forker plays General Matilda B. Cartwright with an appropriate mix of sternness and vulnerability to the charms of Sky.

Stage direction for the show is by Michael Canestraro, and music direction is by Elizabeth Hastings. Heidi Kloes is the choreographer. Costumes were designed by Kake Boucher, and the set design and technical direction are by Tim Boucher.

The show continues through Saturday, July 24, at 8 PM. There is also a matinee Thursday, July 22, at 2 PM. Tickets are $30 and are available by calling 508-548-0668, or by visiting the CLOC box office, 58 Highfield Drive, in Falmouth. Box office hours are Monday through Saturday from 10 AM to 12:30 PM, 2 to 5 PM, and 7 to 9 PM.

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A special 100th anniversary production of “Naughty Marietta” opens Tuesday, July 27, and runs through Saturday, July 31. There will be a special lecture by Victor Herbert scholar Alyce Mott on “Victor Herbert’s Enduring Legacy” on Saturday, July 31, at 3 PM, at Highfield Hall in Falmouth. The talk will focus on Mr. Herbert’s influence on the American operetta. The event is free and open to the public. Refreshments will be served. Call the box office to reserve a seat.

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The following day, Sunday, August 1, is the annual CLOC Orchestra Soiree Concert, which takes place at 7:30 PM at the Cape Cod Conservatory, across the parking lot from Highfield Theatre. The event is free and open to the public.