Theater review | 'Das Barbecü' does a Wagnerian epic campy Texas style

Theater Review |

Strip away the Wagnerian arias, the epic length and the Nordic-Germanic mythology from the opera "Der Ring des Nibelungen" and what do you get?

If you add a heap of bawdy cornfed humor, a bushel of twangy tunes and a slew of Dolly Parton-esque wigs, you get a big ol' musical soap opera called "Das Barbecü."

Composed by Seattle's own Scott Warrender, with clever book and lyrics by Jim Luigs, "Das Barbecü " debuted here in 1991 as a companion piece to the Seattle Opera's four-part "Ring" cycle, and it's been staged many times, in many places, since then.

Now, with the 2009 return of the wondrous Stephen Wadsworth "Ring," ACT Theatre has brought "Das Barbecü" back, too.

Silly, glossy and full of mock-Texas shtick, the show recalls the camp-tastic 1970s TV soaper "Dallas" — but with loads of singin,' dancin,' quick-changin' and plottin' by a winning, adroit cast, backed by an unseen but Grade A country band led by Rich Gray.

Trying to disentangle the brain-boggling plot of "The Ring" is a running joke in "Das Barbecü," with the cast of five chirpily updating us — when they're not enacting scenes and flashbacks drawn largely from "Götterdämmerung," the final, fiery installment of Wagner's epic.

One-eyed Wotan (Richard Ziman, whose expert comic acting outshines his singing) is transformed from King of the gods to a J.R. Ewing-style Texas mogul. And long-suffering wife Fricka (marvelous Anne Allgood) is good 'n' tired of his two-timing.

Heroic hunk Siegfried (versatile Carter J. Davis) is a honky-tonk singer nearly lassoed into marriage by the tacky, desperate Gutrune (Jennifer Sue Johnson).

But Siegfried's true love is spunky cowgirl Brunnhilde (a super Billie Wildrick), whom he rescued from a 20-year exile on a rugged mountain. (Don't ask.)

Does it enhance "Das Barbecü" if you know a thing or two about the Wagner opus? Sure as shootin' it does.

But it's not essential, if Texas culture at its vulgar zaniest amuses you.

Stephen Terrell, who directed the original show (and a 1995 edition at ACT) delivers all the Lone Star spoofery, and garnishes it with fun, cheesy dance moves.

And could there be any better fixin's than set and costume designer David Zinn's ingeniously garish duds? The hot-orange chiffon frock with feather trim, the big hair, the peek-a-boo wedding dress ...

It's one heck of an homage to old-school glam couturiers like Bob Mackie (who happens to be down the road at 5th Avenue Theatre, rustling up costumes for the new musical "Catch Me If You Can").

During Wednesday's show, the final preview, technical kinks were still being worked out for the circular hydraulic pit that's Zinn's main scenic device.

But the performers kept the show moving apace, handling multiple roles and a rough dozen snappy Warrender-Luigs musical numbers with aplomb.

Some favorites? The sweet two-step love duo "Slide a Little Closer," sung by Davis and Wildrick. A hilarious trio for synchronized swimmer Rhine Maidens. And, natch, that ode to S&M on the range, "Hog Tie Your Man."

Misha Berson: mberson@seattletimes.com

Information in this article, originally published Aug. 6, 2009, was corrected the same day. Bob Mackie did not do the costumes for "Dallas," as the story originally stated.