`Wild Oats' isn't as wildly funny as it could be.

Byline: Dorothy Velasco For The Register-Guard

"Wild Oats," written in 1791 by John O'Keeffe, is one of the funniest plays of the 18th century, a lively theatrical period that included romps by Richard Brinsley Sheridan and Oliver Goldsmith.

Now playing at the Soreng Theatre in a collaborative production by Willamette Repertory Theatre and the University of Oregon, this large-cast, lavish production directed by Kirk Boyd is fun, but not as hilarious as it could be. With a few notable exceptions, the performances need to be more pointed and polished.

A period comedy of this type is extremely difficult to carry off, and the young actors simply lack experience and confidence in their abilities. Their efforts are on target and many of their portrayals are charming, but most of them don't quite hit the bull's-eye.

"Wild Oats" is a comic love letter to all aspects of theater, including the plays of William Shakespeare, the bawdy songs, the dancing and the storytelling that allow people to pretend they are someone else.

Jack Rover, our hero, is such a person. He is a handsome actor, an orphan and a good-hearted rogue. His friend Harry Thunder, the son of a naval hero, Sir George Thunder, has run away from military school to become an itinerant actor as well.

When Harry decides to return to school, Jack is mistaken for him and thrown into a situation in which he falls in love with his supposed cousin, Lady Amaranth, a beautiful young woman raised as a Quaker.

Lady Amaranth is rich and generous, but the money-grubbers around her have no qualms about evicting poor tenants. "Wild Oats" shows us a whole social panorama, and all the classes are brought together in their love of theatrical entertainment.

The most theatrical, most bombastic and most hilarious performance is that of William Hulings as Sir George. Anyone named Thunder has to be explosive, and Hulings explodes admirably, puffing his cheeks like a steam engine. He confides in the audience, he sings and dances, and he strikes silly poses, looking almost like a cartoon character.

A choice running gag involves his wide naval hat, similar to Napoleon's but so wide it's like a battleship on his head. To pass through a doorway he has to turn himself sideways - or else turn the hat sideways.

Andrew DeRycke, the other Equity actor in the cast, makes a delightful Jack Rover. His character is cut from the same cloth as Tom Jones in the film of that name, an irresistible rascal with a heart of gold and a taste for lively escapades.

Whenever Hulings or DeRycke are onstage, the atmosphere becomes electric.

Kevin Coubal as a stage-struck Harry Thunder is enjoyable and convincing. Brittany Bilyeu is engaging as his manservant. Wade Hicks is solid as Sir George's sidekick, John Dory.

Jack Watson is a scheming, prosperous farmer. Tall Sarah Ragle is amusing as his country bumpkin daughter, dressed in bright pink prints. Daniel Tuch as his softhearted son is also funny in a farmer's get-up featuring printed sheep all over his pants.

Meredith Ott is sweet, serious and intelligent as Lady Amaranth. Steven Wehmeier, suffering from laryngitis on opening night, makes a smarmy Ephraim Smooth, her overly pious steward.

Alexis Schaetzle is a no-nonsense innkeeper, and Joseph Snyder-Kloos is an effete manager of a theatrical company, assisted by Jennifer Wood as his more realistic treasurer.

Others in the cast are Stephanie Brubaker, John Faciane, Kathleen Leary, Jim Bradford, Madeleine Hicks, Madelyn Schwartz, Hannah Quigg, Ryan Primm, Jakob Pippin and Bill Reinka.

The many scene changes are smoothly effected with the help of musical accompaniment by Ruth Ames, a talented violinist, and Joel Kenney on the hand drum. Each scene change, performed by the actors, is a little drama in itself, with flirtations and competitions.

The impressive scenery, looking like the illustrations in a pop-up book, is by Jerry Hooker. The costumes by Alexandra Bonds are highly original and amusing. The 1700s was a period crazy about prints, and she has selected prints that reflect each character's profession, including sailboats on Sir George's coat.

The cheerful lighting is by Michael Peterson, the choreography by Walter Kennedy, and the fight choreography by Hulings.

Dorothy Velasco, a Springfield playwright, reviews theater for The Register-Guard.

Play Review Wild Oats When: 7:30 Thursdays, 8 p.m. Fridays and Saturdays, 2 p.m. Sundays through April 20 Where: Hult Center's Soreng Theatre, Seventh Avenue and Willamette Street Tickets: $15 to $35 (682-5000)