Review: Georgia Ensemble’s ‘Charley’s Aunt’ drags a bit

Through Jan. 24. 7:30 p.m. Wednesdays; 8 p.m. Thursdays-Fridays; 4 and 8 p.m. Saturdays; 2:30 p.m. Sundays. $27.50-$37.50. Roswell Cultural Arts Center, 950 Forrest St., Roswell. 770-641-1260, www.get.org.

Bottom line: A fresh cast makes the most of stale material.

Perhaps a director is only as good as his material demands or deserves. Take, for example, the estimable David Crowe, whose impressive string of recent credits includes suitably laudatory productions of widely renowned dramas such as "Equus," "The Elephant Man" and "Romeo & Juliet," in addition to accomplished premieres of bold and original local works like "Silent Sky" or "Ravens & Seagulls."

Crowe's latest effort, Georgia Ensemble Theatre's "Charley's Aunt," rarely attains any of those heights. While the show isn't bad, per se, not exactly a case of slumming, it is a decided letdown. But is that a reason to blame Crowe, or is it mainly a reflection on Brandon Thomas' Victorian-era farce itself, which brings with it so many familiar situations and tired routines, so much dated, belabored baggage?

Three Oxford college chaps concoct an elaborate ruse of “matchmaking mischief” that prompts one of them, Lord Fancourt Babberly, to assume the disguise of another’s wealthy aunt — with generally giddy, increasingly illogical repercussions that not only involve their respective love interests, but also a couple of flustered father figures and the inevitable arrival of the actual aunt.

The ensuing complications are more highly energized (as performed by the cast) than particularly energizing (for the audience). A lot of the comedy’s physical shtick rests squarely on the shoulders of leading man/lady Hugh Adams, whose cross-dressing Babberly is definitely a sight to behold, if not quite to be believed. (Notwithstanding the nonsensical circumstances, it’s somewhat odd that the actor does little to alter his deep, booming voice while in drag.)

As his partners in deception, Joe Sykes lays it on a bit thick with the affected British accent and mannerisms as Jack Chesney, especially compared to William Webber, who downplays the role of Charley Wykeham. Rachel Garner and Angelica Spence portray their smitten sweethearts, innocuously enough.

Elsewhere, Steve Hudson is a hilarious highlight as the pompous father of one of the girls, and the splendid Joanna Daniel is a pure delight as the real Charley’s aunt. Stephanie Friedman doesn’t have much to do as a third fetching ingenue, although the character marks a refreshing change of pace for the actress (ordinarily cast in more sullen parts). Scott DePoy and Charles Green round out Crowe’s supporting ensemble.

Things begin to drag, as it were, over the course of three acts and some 2 1/2 hours. Still, because each act takes place in a different setting, scenic designer Seamus M. Bourne essentially pulls triple duty here, with handsome results. The show’s fancy period costumes are designed by Emmie Childers.

Call it an underhanded compliment: Ultimately, Crowe and company may not have the power to fully rejuvenate a piece like “Charley’s Aunt,” but it probably would have felt even more trying in less capable hands.