'Harold' Colors Outside Lines

The hero of "Harold and the Purple Crayon" is obviously a set designer in the making.

As readers of Crockett Johnson's beloved 1955 picture book will recall, the toddler of the title generates his own universe with the help of a violet-hued writing implement, whipping up a scary dragon, a perilous ocean, a miraculous boat, an all-pie picnic and other limelight-worthy marvels. No wonder the lad's adventures have spawned a musical, now receiving its world premiere at Adventure Theatre in Glen Echo.

Michael J. Bobbitt directs and choreographs the 50-minute show, which features the book, music and lyrics of Adam W. Roberts, a Boston-based dramatist, composer and screenwriter. Unfortunately, uneven acting and the failure of the performers and sound designer Matt Otto to make the song lyrics fully audible keep this lively and ambitious pocket-size show from realizing its full potential.

Admittedly, in the title role, Josh Sticklin -- dressed in baby-blue pajamas -- radiates just the right blend of insecurity and wonder, and his singing is strong, melodious and well articulated. As the anthropomorphized Purple Crayon, Branda Lock is sharp and vibrant -- a plum-colored sprite, thanks to the storybook medieval costume designed by costumier Katie Touart, who is one of the production's chief assets.

Alas, the quartet of supporting performers who round out the six-person cast have less stage presence, and their vocal work doesn't always live up to the score, which segues from pop-meets-Broadway romanticism to a happy-go-lucky noodling that recalls silent-film soundtracks. The foursome -- John Dellaporta, Florrie Bagel, Ayanna Hardy and Javi Harnly -- portray an array of characters, including a group of standard-issue mean children who persecute Harold mercilessly for being a sensitive, artsy loner. That significant subplot, incidentally, radically overhauls the original "Harold" themes -- instead of the book's disarming fable about resourcefulness and the power of creativity, the musical "Harold" offers yet another homily on that oft-reprised children's-theater theme: It's okay to be different.

On a more positive note, Roberts also supplies a collection of more idiosyncratic personalities, who give the show a touch of "Phantom Tollbooth" whimsy. Dellaporta, Bagel, Hardy and Harnly depict a pack of eccentric hot-air balloonists (wearing wonderful balloon hats); a crew of sailors desperate to hear new jokes; a Dragon (Dellaporta) who nurses a deep suspicion of apples; and a Moose and Porcupine (Bagel and Hardy) whose mutual enmity puts the Montagues and Capulets to shame. Touart's costumes for the last two animals -- a medley of exuberant, clashing red, blue and purple textures -- are particularly fun.

In contrast to the costumes, Elizabeth Jenkins McFadden's spare but evocative set hews more closely to the book's aesthetic: Near an amethyst-colored slide, purple-and-white-striped pillars flank a screen for projections that recall the original "Harold" illustrations. (Deborah Wheatley is projection designer.) The set leaves ample room for Bobbitt's choreography, which ranges from soft-shoe to chorus-line kicking, executed by the cast with more enthusiasm than polish.

The dancing, the zany costumes, the oddball humans and fauna -- and presumably the lyrics, could one hear them -- reveal Purple Crayon Land to be a bustling fantasy kingdom, chock-full of potential pals. Curiously, it's hard not to miss the almost existential loneliness that pervaded the original book. Crockett Johnson's Harold, you felt, was virtually alone in the cosmos. Fortunately, with his crayon in hand, he could more than cope.

Harold and the Purple Crayon, based on the book by Crockett Johnson. Book, music and lyrics by Adam W. Roberts. Directed and choreographed by Michael J. Bobbitt; musical direction, Darius Smith; orchestrations, Christopher Youstra; lighting design, Andrew F. Griffin; props, Julie Roedersheimer. Through Nov. 4 at 7300 MacArthur Blvd., Glen Echo. Call 301-634-2270 or visit http://www.adventuretheatre.org.