THE BRIDE AND THE BROTHEL

Upon its debut in 1983, some film critics referred to the combo Barbra Streisand concert/sexual masquerade story Yentl, set in the Jewish culture of early 1900s Eastern Europe, as "Barbra on the Roof." The new musical The Bride and the Brothel is another exercise in genre cross-pollination. With its peculiar mix of old-fashioned Yiddish musical comedy and such provocative topics as lesbianism and prostitution, Bride, set in turn-of-the-century Poland, might be dubbed "Teyve and the Happy Hooker." This earnest attempt to present a moving parable of tarnished innocence and evolving tradition in the Jewish culture is not without its virtues, but thematic clarity and evenness of production quality are not among them.

Let's get to the problems first. Hannah Levy's uninspired score is awkwardly wrapped around the story of a crusty Old World brothel owner (Adam Gregor) and his blossoming young daughter Rivkele (Jamie Farmer Ebersole), who is drawn to the mystique of dad's hooking establishment downstairs?especially the seductive charms of a female courtesan. There are a couple of zesty finger-snapping ethnic-flavored numbers and a poignant ballad or two, but too many of the recitative-styled songs add little to what the book (adapted from Sholem Asch's play God of Vengeance by Madeline and Charles Leavitt and translated by Joachim Neugroschel) has already told us. And the mix between Broadway uplift and the dark psychological undercurrents of Asch's original tale never allows for a coherent tone.

Nor is the story cohesively shaped?at least not in this adaptation. As the first act lumbers along, we spend considerable time with a number of subsidiary characters, such as a smarmy would-be pimp (unconvincingly played by Richard Gayler), whose pertinence to the central story and themes seem marginal at best. Choreography by Denise Leitner is mostly clichéd and claustrophobic, scarcely helping to move things along. And the new producing company's name Voices Carry elicits unintended irony when the too-vibrant three-piece band drowns out the singing. For one or two performers, this is a blessing in disguise.

Yet there are moments when the show offers glimpses of the jewel that could have been. As the coming-of-age heroine Rivkele, Ebersole boasts a pleasant singing voice and a charming presence. In the role of Rivkele's ex-hooker mother Sorre, JoAnne Bailey sings resplendently, as does Hale Porter as the religious scribe. Gregor has his moments as the tyrannical Jewish patriarch. In the large supporting cast, Amy Tolsky stands out as a feisty hooker with a Bette Midler twinkle in her eye. Evan A. Bartoletti's exquisitely textured double-decker set is gorgeous and ambient. Shon LeBlanc's costumes are convincing and lovely, and Leif E. Gantvoort's lighting is likewise atmospheric. One senses that the original source material had much mythic resonance and literacy, as these qualities occasionally shine through the production's myriad handicaps. Perhaps some serious retooling and a dash of chutzpah could jumpstart this admirable but stalled vehicle. L'chaim!

"The Bride and The Brothel," presented by by Madeline Leavitt and Voices Carry Inc. at the Gascon Center Theatre, 8737 Washington Blvd., Culver City. Fri.-Sat. 8 p.m., Sun. 7 p.m. (3 p.m. on Jan. 21 & 28 & Feb. 18) Jan. 26-Mar. 4. $15-25. (310) 289-2999.