The Encores! offering as part of its spring, 2010 season sparkled with flair and well-earned emotional impact under the direction of Marc Bruni and musical direction of Rob Berman, in command of the ever-pleasing Encores! Orchestra. The story, set in the Old Port of Marseilles, is awash in sentiment, leavened with gentle humor and enhanced by credible characterization. The clever minimalist set design included a partial view of sails in the background, with hanging signs of the two key businesses, that of Panisse, the wealthy sail-maker, and Cesar, owner of a popular waterfront café. The production was further enriched by a strong chorus and a skillful dance corps.

But mainly needed are singers who can deliver on the songs that define the story with required emotional impact. The plot involves Marius, Cesar’s, son who loves Fanny, the daughter of Honorine, a widowed fish-stall keeper. But Marius hungers for the sea, and takes off as a crew member of a ship on a five year trip. The night before he and Fanny sleep together and Fanny is left pregnant. What to do? The widower Panisse, longing for fresh companionship, offers to marry the younger Fanny, and what’s more, takes pride in hoping for a son to raise as his own even though he knows the son was fathered by Marius, as does everyone else on the waterfront. Cesar gives his approval with the promise of having visiting rights and Panisse pledging to leave his money to the son, and Fanny, although harboring love for Marius, agrees to marry and be loyal to the overjoyed Panisse. There is indeed a son, and when Marius returns from sea, the issue of what happens next is raised. One appeal for French films of the 1930s was such mature stories, which would never be allowed in Hollywood films of that era, or even much later for that matter.

James Snyder as Marius and Elena Shaddow as Fanny were thoroughly delightful, especially when brilliantly teaming on the signature song “Fanny.” Shaddow was also effective singing “I Have to Tell You.” They made outstanding lead performers, believable in the acting department and thrilling when singing.

But this is a show in which Panisse and Cesar, parallel leads, also have to be standouts, perhaps even more so. Fred Applegate, strong in voice and captivating in personality as Panisse, did great renditions of “Never Too Late for Love,” “Panisse and Son,” and “To My Wife.” George Hearn as Cesar also shone, whether in his solos “Welcome Home” and “Love is a Very Light Thing,” or joining in “Never Too Late for Love” and “Fanny.”

Priscilla Lopez was an added treat as the flamboyant Honorine, who hoped Panisse would marry her instead of her daughter and added luster in a reprise of “Never to Late for Love” with Applegate and Hearn. Other added attractions included a nightspot scene with a belly dance, a wedding dance and even a circus sequence, all staged colorfully.