STAGE REVIEW : ‘Wagon’ Veers Off Course : Revision: Director William Virchis’ tinkering to enhance the character of Julio leaves the rest of the cast and story line faltering.

SAN DIEGO —  The Alan Jay Lerner-Frederick Loewe musical “Paint Your Wagon” centers on the character of Ben Rumson, a gold prospector-entrepreneur who attempts to keep the California town he founded alive during the unstable Gold Rush years. A variety of subplots populate this 1951 musical, but each episode ties directly into Ben’s patriarchal mission to maintain the peace and prosperity in Rumson, Calif., circa 1849.

The story also includes a supporting character, a Mexican miner named Julio. In the original script, Julio is something of a cliche, so Mexican-born, veteran San Diego director William Virchis took a few liberties with the script.

Seeking to invigorate this breezy musical for Starlight Musical Theatre, Virchis shifted the focus of the play to the character Julio, a Mexican miner who falls in love with Ben’s daughter, Jennifer. To facilitate this change, Virchis added a song for Julio, spliced in bits of new dialogue and cast the wonderful Raymond Saar as the love-struck young man.

In doing so, Virchis has succeeded in bringing new life to Julio, but he also has drawn so much attention to this one character, and away from the rest of the cast, that he’s altered the balance of the play. This new-and-improved Julio stands out dramatically from the rest of the characters, so much so that it’s difficult to care about anyone else. As a result, this “Wagon” veers off course.

In its original form, “Paint Your Wagon” opens with the invigorating ensemble number “I’m on My Way.” On Thursday night at Starlight Bowl, the musical began with Julio walking across the stage singing a solo version of “Preguntale a Las Estrellas.” This scene alone, added by Virchis, sets the tone for the rest of the production--the audience is encouraged to perceive Julio as the protagonist, when in fact he is not.

Virchis’ directorial concept is reinforced at intervals throughout the musical as Julio proudly speaks out about his cultural heritage and his selfless mission to “buy back our land.” The new dialogue adds dimension to Julio’s character, but, as a result of the changes, the other miners appear as greedy, one-dimensional dolts. The embellished Julio wants justice; the unretouched miners just want to grab the gold.

More importantly, Virchis’ tinkering intrudes upon the delicate structure of the play. Julio gets what he wants--Jennifer (Bets Malone)--fairly early in the play, and the musical lacks sufficient drama from that point on. The production drags through Act II, as we’re left to watch the peripheral characters--at least in this production--try to keep their homestead in order.

Virchis’ decision to cast Saar as Julio also shifts the balance of the play. Saar, who starred in “Les Miserables” on Broadway, is a splendid singer and a luminous presence on stage. His richly textured tenor stands out from the other voices in the cast, particularly in the duet “I Talk to the Trees.” Also, Saar’s regal, feline grace commands attention, especially when the rest of the performers are portraying bumbling bumpkins who trip and fall and bump into each other.

Despite the problematic directorial concepts, there is much to admire in this production. The cast is solid from top to bottom, Francelle Fuller’s dance routines are flashy and energetic, and Xu Zheng He sets are substantial without being obtrusive. Also, Virchis’ decision to cast a polyethnic ensemble is a pointed reminder that the Old West was not an exclusive club that only admitted Anglo-Saxons.

Malone, a Moonlight Amphitheatre veteran, turns in some strong singing and some intentionally bad dancing in her portrayal of the good-hearted but unmannered Jennifer. Playing the lead role of Ben Rumson, Bob Howard belts out “They Call the Wind Maria” with authority and makes the most of his diminished character.

Howard also made the most of an interruption in his performance Thursday night. As “Paint Your Wagon” drew to a close, a jumbo jet flew overhead during the penultimate number in the show, a ditty called “Wand’rin Star.” Rather than freezing in place as the plane thundered past, Howard decided to incorporate this very real “wand’rin star” into his performance.

“There’s mine!” he sang without missing a beat, pointing toward the plane and smiling broadly. “Do you see it? It’s the biggest one!”

It was a stellar bit of improvisation, a clever piece of acting that brought warm smiles to the faces assembled in Starlight Bowl. More significantly, Howard’s impromptu behavior added something to the performance without taking anything away.

Sadly, the same cannot be said for Virchis’ multiple alterations.

“PAINT YOUR WAGON”

Book and lyrics by Alan Jay Lerner. Music by Frederick Loewe. Director, William Virchis. Musical director/conductor, Lloyd Cooper. Choreographer, Francelle Fuller. Sets, Xu Zheng He. Costumes, Peggy Kellner. Lighting, Gregory Allen Hirsch. Sound, Bill Lewis. Stage manager, Elizabeth Stephens. With Bob Howard, Raymond Saar, Bets Malone, Patti Goodwin, Ole Kittleson, Susan Jordan, Scott Watanabe and Jim Zubiena. At 8 p.m. Tuesdays-Sundays, through Aug. 9. Tickets are $14-$25. At the Starlight Bowl in Balboa Park, 544-7827.