The gleeful, let’s-put-on-a-show spirit of local community theater infuses the latest production from Good Theater of Portland.

“A Man of No Importance,” the 2002 Broadway musical by Stephen Flaherty, Lynn Ahrens and Terrence McNally, based on the 1994 film of the same title, tells the story of a church-sponsored Irish theater troupe in 1964 that seeks to put on what turns out to be a controversial show. This affable and entertaining musical aims to warmly reveal the points at which art, the individual and community meet.

In his 100th directorial effort, Good Theater impresario Brian P. Allen assembled a large cast of mostly local performers, many known from prior Good Theater shows. Most of the 18 players double or triple as actors, singers or instrumentalists. They fill the stage with an engaging array of characters looking to express their hopes and desires at a time when doing so could potentially get them in trouble.

David Bass-Clark fills the lead role of Alfie, a bus conductor with an affection for the work of Oscar Wilde. When Alfie convinces his fellow theater enthusiasts to put on Wilde’s somewhat infamous play “Salome,” the problem of how to get it past censorious church officials intersects with Alfie’s feelings about his personal liberation.

Bass-Clark centers the action perfectly as a gentle soul with a nonetheless strong drive to succeed at broadening his community’s vision. His sweet singing voice stops the show in a good way on such solo numbers as “Man in the Mirror,” “Confession” and “Love Who You Love.”

The many other highlights in the well-paced, two-hour show include Steven Martella’s bus driver Robbie, a love interest to several characters, leading the ensemble in “The Streets of Dublin.” Jackie Grigg is a feisty, if forlorn, Lily in softly sung solo numbers like “The Burden of Life” and “Tell Me Why.”
J. Timothy Bate’s Baldy offers “The Cuddles Mary Gave,” a tune both funny and moving, while Abbey Hutchins’ Miss Rice shyly struggles to become a “Princess.” Derek Kingsley plays an opinionated butcher in “Confusing Times.”

Local favorites Tony Reilly, Thomas Ian Campbell, Jen Means, Steve Underwood and others have moments to step forward from the crowd on the multipurpose but minimal set (by Underwood), well-lit by Iain Odlin. The period costumes by Michelle Handley enhance the folksy milieu of the show.

Ensemble numbers like “Going Up!” and “Art” convey harmonious good cheer with bits of arresting Irish dance backed by a revolving group of musicians at the rear of the stage, all under the direction of Victoria Stubbs. Celtic flute and fiddle add color to the occasionally more Broadway-centric surge within the arrangements.

Director Allen noted that this may be the last Good Theater production at The Hill Arts facility, which will be undergoing expansion soon. “A Man of No Importance” fits perfectly as a reminder of why, though some things may change, the show must always go on.

Steve Feeney is a freelance writer who lives in Portland.

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