Viewing all of this with great interest is the girl’s wealthy father, Clement (Tom Allard), who is anxious to see her safely married, and Rosamund’s stepmother, the evil, sexually rapacious Salome (Melora Marshall), who desperately is trying to get Rosamund killed so she can keep her husband’s money and Jamie’s body for herself. Either aiding or hindering all these doings are a group of colorful comic villains, including the grimy Little Harp (Sheridan Crist), the talking head of his decapitated older brother Big Harp (Thad Geer), the near-demented Goat (Justin Doran) and Goat’s Mother (Earnestine Phillips), as well as a mischievous talking Raven (D. Hunter White).
The production possesses a wonderful aura of inspired improvisation through all the story-telling but becomes utterly deflated whenever someone breaks out in song. Bultman’s pleasant but undernourished voice does not project the necessary dash and verve on his barely audible “Steal With Style” and “Love Stolen.” Mercado exhibits more vocal power but is woefully off-pitch with ballads “Rosamund’s Dream,” “Ain’t Nothin’ Up” and “Sleepy Man.”
The most proficient vocalizing comes from Theatricum veteran Marshall, who simply rips through a pair of comical ditties, “Prickle Pear & Lily Bud” and “Kitchen Girl.” And two ensemble numbers manage to create some excitement, the Harp brothers’ anthem, “Two Heads,” and the second act opener, “Poor Tied Up Darlin’. ”
Adding much to the period feel of the production are the costumes of Michelle Love and the props of Jessica Hoffmann.