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I’d forgotten how much I liked THE FANTASTICKS. With book and lyrics by Tom Jones and music by Harvey Schmidt the musical, which opened Off-Broadway in 1960, was truly revolutionary both in script and production style. It played over 17.000 performances closing in 2002. I was lucky enough to see the original cast which initiated the career of Jerry Orbach.

Based on the play LES ROMANESQUES by Rostand, it tells a skewed version of ROMEO AND JULIET. Two fathers build a wall between their gardens to fake a feud so their son and daughter, being typical teenagers, will fall in love. Once they do, the fathers hire a bandit to abduct Luisa so that Matt can rush in and save her. The plot works and Act I ends happily in the romantic moonlight. In Act II the sun comes up and reality intrudes.

Having seen it many times in small venues, I was delighted that this production was able to retain the intimacy of the piece. The material and humor has not dated, although after almost 50 years the Indian has morphed into a more politically correct Pirate. Also, however unlikely it may seem, there’s apparently an expurgated version of the abduction scene and song that Syracuse has ill-advisedly chosen to use. It totally flattens the humor of the hilarious original. It’s hard to believe that material that got belly laughs in 1960 is considered too risque for a contemporary audience. Aside from that unexpected jolt, this is a terrific production.

Set Designer Scott Bradley has accomplished the miracle of making the large stage feel intimate, with his seemingly simple set slightly reminiscent of the original. However he has his own take on it, and makes good use of the flies and trap. Ann Wrightson’s lighting is so good you don’t realize how good it is, while Maria Marrero’s costumes are appropriate, flattering and fun.

Music Director David Nelson has done a fine job with his excellent cast, and does the same with the demanding score. Deette Bunn’s harp adds a great deal musically. Todd Mack Reishman’s sound design is so delicate that it’s almost impossible to tell whether or not mikes are being used.

This cast is filled with good actors who can sing, rather than singers who stop acting when the music starts. William J. Norris is wonderful as Henry, and has great comic timing. As Mortimer Robert K. Johansen is terrific in his various death scenes and they both display remarkable physical agility in the abduction. Alexa Silvaggio is very good as the Mute and her percussion adds to the proceedings.

Charles Goad and Mark Goetzinger have great fun with the two fathers. They keep the characters believable and never cross the line into caricature. Mackenzie Thomas as Luisa and Eric Van Tilden as Matt have good chemistry together and are excellent singers. They give the characters subtlety and are especially affecting in the final scene. As the flamboyant El Gallo David Studwell gives a finely shaded performance. It’s always clear when he’s functioning as the narrator. He has a strong voice and is especially good on “I Can See It.”

Director/choreographer Peter Amster has done a fine job with the piece. His staging of the group numbers is inventive and fun, and his version of Mortimer’s major death is very clever. The Act II opening is giggle-worthy. Even with all this hilarity, he’s hung on to the humanity at the core of this ageless piece.

After 48 years THE FANTASTICKS still casts a spell of wonder and delight. If you’ve never seen it, this is a good production to begin with. If you HAVE seen it, it’ll remind you of things you may have forgotten. I know it did me.

On a scale of one to five the Syracuse Stage/Indiana Repertory co-production of THE FANTASTICKS gets four and seven-eighths oranges. For North Country Public Radio I’m Connie Meng.