Tony Esposito, the title character in “The Most Happy Fella,” was no happier than I was when I heard that Winter Opera Saint Louis would be staging the 1956 musical with a book, music, and lyrics by Frank Loesser. It has been one of my favorite shows since I first saw it nearly 40 years ago.
I was even happier after going to the excellent Winter Opera production.
Tony owns a Napa Valley grape farm. He becomes smitten with a much younger waitress who serves him in a San Francisco restaurant. He is too shy to speak to her, so he leaves his amethyst tie pin for her on the table along with a note including his address. He calls her Rosabella because he does not know her name.
The initially wary waitress is charmed by the sincerity of Tony’s broken English, and she replies to the note. The courtship by mail goes well until Rosabella asks for Tony’s picture. He is afraid his age and looks will put her off, so instead of his own picture, he sends one of his handsome young foreman, Joe. The picture brings Rosabella to Napa Valley, but the deception has lasting consequences.
When it premiered, “The Most Happy Fella” had two or three times as much music as a typical Broadway show, prompting arguments about whether Loesser’s work was an opera or a musical. The controversy matters less now than before because repertory boundaries are less rigid than they used to be. There is no doubt, however, that staging “The Most Happy Fella” calls for expertise in opera as well as musicals.
The Italian characters’ songs and the ensembles require operatic singing. The Americans’ numbers must be sung in a popular idiom. Acting of the highest quality is needed for Loesser’s compelling book, which was based on Sidney Howard’s Pulitzer Prize–winning drama, “They Knew What They Wanted.” The Winter Opera production met these requirements splendidly.
The singing was beautiful, and the acting was outstanding throughout. John Easterlin made Tony’s sincerity, decency, and inner warmth shine through his awkwardness. Sophie Thompson captured Rosabella’s yearning for more out of life and the kindness that won Tony’s heart and enabled her to recognize the charm beneath his surface.
Evan Bravos’ Joe embodied the unaffected affability that made Joe so appealing. Karen Kanakis was a formidable blocking character as Tony’s domineering sister, Marie.
James Stevens and Leann Schuering formed a wonderful couple as Herman and Cleo. He is an easygoing ranch hand. She is Rosabella’s brassy best friend. They bond when they discover they are both from Dallas in their rollicking number, “Big D.”
Joel Rogier (Pasquale), Marc Schapman (Giuseppe), and Nicholas Alessi (Ciccio) formed a delightful Italian singing trio. The impressive supporting cast included Nicholas Greenland as Al, Clark Sturdevant as Clem and the Doctor, Will Kinsella as Jake, Fitzgerald St Louis as the postman. and Michael Oelkers as the cashier.
In conducting the fine orchestra and chorus, Scott Schoonover had the full measure of the marvelous score. Schoonover’s expansive tempo brought an ethereal quality to “Joey, Joey, Joey” when Bravos caressed the words, “I’ve been too long in one place.” Speeding up for that phrase, as on the original cast album, is a logical way to evince Joey’s restlessness, but Bravos and Schoonover’s reverie was entrancing.
The stage direction by Gina Galati and John Stephens was in complete service to both the action and the music, even in instrumental sections. Robert Poe’s choreography brought out the fun in the party scenes.
Winter Opera made the most of a small company’s budget with Scott Loebl’s scenic design, Jen Blum-Tatara’s costumes, Michael Sullivan’s lighting, Dennis Milam Bensie’s wigs, Aaliyah Burton’s makeup, and Laura Skroska’s props.
Sadly, there were only two performances, on November 6 and 8.
—Gerry Kowarsky, 2026
Photo © Dan Donovan Photography
Sophie Thompson as Rosabella and John Easterlin as Tony in “The Most Happy Fella.”
