Mask & Wig Club's "Beautopia'

Clayton Fotterall McMichael founded the University of Pennsylvania's Mask and Wig Club in 1888 as an all-amateur, all-male troupe that wrote, directed and produced its own cabaret and evening-length musicals. (In Philadelphia, only the Walnut Street Theatre has produced live theatrical performances longer.)

During the group's heyday, after World War II, Frank Sinatra, Ella Fitzgerald and Benny Goodman (among others) recorded original Mask and Wig songs. The big band and crooner era may have passed, but as the troupe's current Beautopia: A Face Odyssey proves, the troupe's tradition of high quality (albeit gag-ridden) humor still runs strong.

Beautopia takes place in the 25th Century, where a narcissistic dictator named Ralph (Zach Tomasovic) has divided humanity in two halves, assigning numbers to everyone based on their physical appearance. The 6s and up (of which Ralph is the only "10") live in Beautopia; Ralph has banished the 5s and unders to dwell in a sewer-like underworld called Pittsburgh.

As Ralph plans his wedding to Sophie (Derrick High), the only "9," the only unhappiness results from social-climbing sixes who long to be sevens. The discovery (and thawing out) of James (Chirag Pathre), a delivery boy from the 21st Century, brings unrest and potential revolution aided by Pantso (the hilarious Danny Rodriguez), a Mexican bandolier who distracts his enemies by "pantsing" them.

Panning Pittsburgh

It sounds silly because it is silly, and intentionally so. Like much farce, the plot of Beautopia sets up easily foreseeable conclusions. But just like Mel Brooks movies or an episode of "Family Guy" (from which much of Beautopia's juvenile humor derives), the inevitability only amplifies the fun of watching the multiple storylines unravel.

Beautopia's silliness masks a number of clever touches that exceed its groan-inducing moments. A society that ranks citizens by their appearance not only reflects our celebrity-obsessed culture but also riffs on Plato's idea of genetic harmony of place. James, the 21st Century delivery boy, inspires revolution in a "pacifist-only" bar reminiscent of Canada, and most of Beautopia's better jokes come at the expense of Philadelphia's rivalry with Pittsburgh. (The latter is referred to as a "city-shaped toilet" built entirely out of airport bathroom tile.)

Professional help

Mask and Wig's all-amateur cast fields one heavy hitter, its head writer Jonah Meyerson, who has appeared in movies like The Royal Tennenbaums and interned on "Saturday Night Live." To its credit, Mask & Wig continues to hire design and staging professionals. Director Matt Pfeiffer , a Barrymore Award winner, returns for his second year, succeeding such former long-time directors as Jen Childs and Tony Braithwaite, the stalwarts of 1812 Productions.

Veteran composer Neil Radisch returns to score his 20th show for Mask and Wig, with songs arranged and directed for the nine-member onstage band by Gregory Oliveras. Former Eagles choreographer Suzy Zucker's delightful contributions include a rousing tap number that closes Act I.

No latter-day Sinatra may cover "The Legend of Pantso" or the hysterical "Burrito Song," but Beautopia demonstrates that audiences can still count on Mask and Wig for laughs, however juvenile or ill-inspired.