Stylish ëDiscretioní What Over-the-Top Musical Lacks in Plot It Makes Up in Flair by Anna Gawel The low point of Arena Stageís production of ìSeÒor Discretion Himselfî is a meandering, somewhat threadbare plot line with virtually nonexistent character development. But not to worryóthe high point of this ebullient musical is pretty much everything else. Frank Loesserówho penned such Broadway greats as ìGuys and Dolls,î ìWhereís Charley?î and ìHow to Succeed in Business Without Really Tryingîónever completed ìSeÒor Discretionî before his death in 1969. Loesserís widow, after seeing an Arena Stage rendering of ìGuys and Dolls,î decided to hand over the unproduced script to Arenaís associate artist Charles Randolph-Wright, who in turn resurrected the musical with the help of the performance trio Culture Clash. Loesserís tale centers on a sleepy Mexican hamlet that comes to life thanks to a self-made miracle. Unfortunately, the play itself is not much of a revelation. In the small, rundown village of Tepancingo, Mexico, the banality of small-town life is interrupted when Pancito, the town drunk, becomes the town saint, attracting the faith of his fellow townspeople and, more important, badly needed tourist dollar s. Thrown into the mix is a charming stranger withósurprise, surpriseóan unsavory past, who falls for Pancitoís youngestóand by young, I mean a very young 15 years oldódaughter Lupita, who herself is actually in love with her emotionally pent-up young professor. The story line seems to veer from one twist to the next, without a concrete center on which the action revolves. Certain scenes tended to drag, with some of the actors struggling to grasp the mood of the moment, and the few stabs at any serious reflection didnít gel with the light-hearted nature of what is essentially a comic fable. And the humor could be more aptly described as pleasantly amusing than riotously funny, although some of the more contemporary zingers spice up the dialogue. With all the bad news out of the way, itís time to focus on the good. The pace does pick up in the second act, and the music doesnít disappoint. Some of the songs flow gently over the audience, while others pierce the air with their raw emotion. And each of the principal actors carries off Loesserís original score with skill and ease. John Bolton commands a powerful stage presenceóboth physically and vocallyóas Hilario, the new town baker with a shady past who lusts after the 15-year-old Lupita. Bolton conveys his forbidden desire with a forceful passion, although at times his actingóand anticsócome off a bit too exaggerated. Meanwhile, Elena Shaddow as Lupita is reminiscent of a Britney Spears-like temptress, striking just the right balance between naÔve gawkiness and seductive allure. With a booming voice, Shaddow exuded confidence as she belted out love songs that highlighted her transition from sweet schoolgirl to young woman. Margo Reymundo as Carolina, Lupitaís ìold maidî sister, is charming and amiable with a strong singing voice, althoughólike her characteróshe winds up playing second fiddle to the more beguiling Lupita. Similarly, Lupitaís love interest, the professoróplayed by Ivan Hernandezóis a somewhat lackluster character. Hernandez does what he can with the understated part, and his vocal prowess does get to shine toward the finale when he sings a thunderous duet with Shaddow that showcases both their talents. Doreen Montalvo as the curandera (witch doctor) who acts as a narrator also earns high praise for her velvety singing, but her constant presence in many of the scenes often seems superfluous. Finally, Shawn Elliott, who plays Lupita and Carolinaís father Pancito, adds charisma to his emotionally shattered yet ultimately wise character, although, like Bolton, his acting would have benefited from a more nuanced performance. The over-the-top acting does work well, however, for some of the other actors with smaller partsómost notably Carlos Lopez as Father Manuel, whose energetic one-liners liven up every one of his scenes. Not that the scenes arenít lively to begin with. The heart-pounding dance numbers are superb, and the bright, flowing costumes are dazzling at every turn. Thomas Lynchís set consists of clever miniature buildings and whimsical props such as drop-down neon signs that evoke the feel of a dusty Mexican village. The design works well in the intimate space of Arena Stage and is further accented by strings of colorful bulbs hanging overhead and other lighting effects. It is this attention to detail that raises the production to the next level. And what ìSeÒor Discretionî may lack in plot, it more than makes up for in style, flair and fun. ìSeÒor Discretion Himselfî runs through May 23 at Arenaís Fichandler Stage, 1101 6th St., SW. Tickets are $42 to $60. For more information, please (202) 488-3300 or visit www.arena-stage.org. Anna Gawel is the managing editor of The Washington Diplomat.