`VERY GOOD EDDIE' BUBBLES WITH SOPHISTICATED INNOCENCE AT UNIVERSITY

It's Kern to the kernel, this "Very Good Eddie," University Theatre's musical comedy opening tonight at Southeast Missouri State University's Forrest H. Rose Theatre; it's a gem of theatre joy, bubbling with sophisticated innocence, and not to be missed by anyone who wishes for good, clean fun that can be as racy as one wishes to make it.

This, one of the cornerstones of the purely American musical comedy tradition, will be repeated Saturday night, and Nov. 18, 19, and 20, with curtain time (yes, there really is a curtain!) at 8 p.m., except for an 8:30 p.m. start Nov. 18.

Although virtually none of the score of hummable, whistle-able, memory-tickling tunes is now very familiar, all are immediately recognizable as coming from the genius of Jerome Kern, although the lyrics were written by several "big names," principally Schuyler Greene.

Director Dennis C. Seyer, who also did the scenic and lighting design and the technical direction, has used his impeccable sensitivity to bring "Very Good Eddie," which was first stage in 1914 and has had several both remarkable and unremarkable revivals, to The Rose with the freshness of its first performance, allowing both cast and audience to step back in time without a stumble or a smirk -- just an open-hearted smile and chuckle.

Musical direction, showing a spirited "feel" for the genre, is by Ellen Seyer, who not only does the choreography and musical staging, but also conducts the "pit orchestra," consisting of Dan Cotner and Ann Swanson on keyboards and Mary Polsgrove on percussion.

Book for "Very Good Eddie" was written by Guy Bolton, a founding figure in American musical comedy, and, replete with puns, tells the story of two pairs of mismatched newlyweds who get separated, mixed, and re-matched on a honeymoon trip on the Hudson River.

The newlyweds are Eddie and Georgina Kettle (George Kralemann and Tina Schaefer) and Percy and Elsie Darling (Patrick Rebman and Susan Essner).

The comedy of their situation is backed up by the developing romance between Mr. Dick Rivers (Joshua Rhine) and Miss Elsie Lilly (Amy Diebold), and the antics of the indefatigable Mme. Matroppo (Leslie Stevens), the much-put-upon steward/hotel clerk/bellhop (Dan Akre), and the volatile Frenchman, M. de Rougemont (Alden Field). Three "Elsies" -- Rougemont's initials are L.C. -- make neat openings for even more confusion.

Charming in song, dance, and dialog are members of the "chorus" -- Mme. Matroppo's aspiring opera students: Miss Lily Pond (Jeni Kafka), Miss Chrystal Pool (Amy Monfort), Miss Carrie Closewell (Halli Matthews), and Miss Alwys Innit (Jenny Adams), along with "the boys" -- Mr. Tayleurs Dumme (David Evans), Mr. Dayr Thurst (Brandon Nielson), Mr. Dustin Stacks (Marty Strohmeyer), and Mr. Rollo Munn (Jason Shaffer). It's obvious that writer Bolton was a very punny guy.

This cast is an interesting mix, and to the mind of this reviewer an excellent example of the sort of thing educational theatre is about, especially at the university level. On stage we find experienced and novice actors, singers who've had training and students (even veterans) who've never sung on stage before, many who've had no on-stage dance work and some who have -- a great mingling of talents learning from their directors and from each other.

And what emerges from this mix? An absolutely entrancing piece of entertainment, a glimpse of the beginnings of a purely American art form that reflects the history of our theatrical tradition -- and a show that's just plain-out fun for the whole family in this ill-besotted time of X-rated junk that often masquerades as entertainment. Frothy it may be, but this froth is the broth of good memories. And, who knows? Perhaps an impetus for a re-examination of values?

As always. it's frustrating not to be a little mouse (although Elsie Darling would have a fit!) who could truly assess and credit all the unseen and unsung folks who are behind such shows.

Program credits are given to Diana Mays as costume coordinator (and what a lovely picture those pastel costumes make!), Leslie Stevens for tastefully under-done make-up (it could have been garish), April Elliott as stage manager, and Tiffany Lambermont as assistant director.

And there are program listings of various crews -- but, as in any enterprise, there are people who accept responsibility and follow through, and some who don't, and others who quietly take up the slack. They -- and often they alone -- know.

Now, as to that wonderful Jerome Kern music we may not really remember but that touches cords -- and chords -- of recognition. There are such funny numbers as "Thirteen Collar" that sets forth the problem Eddie faces in his small stature; "Old Boy Neutral" in which Dick Rivers tries to deny his love for Elsie Lilly; and the just-short-of-frenetic "I've Got To Dance" performed by the Frenchman and the chorus.

And there is Mme. Matroppo's melodramatic "Moon of Love" along with her saucy "Katy-Did," as well as the chorus number, "Hot Dog!"

If you think you remember "Babes in the Wood" by its title, you're probably thinking of a later song; listen to the sweet innocence of Kern's as sung by Eddie and Elsie Darling, as well as that of "Nodding Roses" as performed by Dick Rivers and Elsie Lilly.

What may well stay with you longest comes near the end of the first act, "If You're a Friend of Mine," sung by Elsie Darling and Eddie Kettle, as they discover one of the best truths of all, "A tender friendship that's unending and undying is just a form of love... Dreams may die as years go by: One joy we'll never resign till journey's end, if you're a friend of mine."

Thank goodness University Theater's a friend of ours. "Very Good Eddie" proves it, if indeed it needed proving.