There are two good reasons to visit the theater this week, before the seasonal drama ends (OK, still coming to the Waterfront is Naked Boys Singing -- a hit rerun and romp cleverly complementing Pridefest activities): for this week, though, the first reason is Mavis and the Three Bears playing at the Red Barn; the other is the crème puffs served during the intermission of Clouds Over the Sunshine Inn at Blue Heaven.

That’s not meant to be as harsh as it sounds. The musical isn’t bad at all; it’s very sweet. It’s also pretty silly and asks rather a lot of an audience in the motivation and logic departments. But it’s enthusiastically played by an energetic cast and fans of Denis Hyland will be touched by his characterization of Max the lovesick pastry chef – he takes the slightly bemused persona he created for the solo he choreographed for himself in the wildly successful Ganesha concert and develops him into a lovable, elastic-featured goof with vestiges of St. Vitus’ Dance.

Triple threat Carolyn Cooper does a fine job in dancing, singing and acting multiple roles, as do Phil Tabb and newcomer Jane McClintock, who has a lovely singing voice and a great dimple. But watch out for Billy Rivera, a Conch recording artist and KWHS grad just getting into local adult theater; he turns in a solid performance as Sam. Perhaps I expect too much of Kristin Wilson; she is a gifted character actor – Little Sally in Urinetown was extraordinary – but she seemed uncomfortable, uneven and miscast here as the ingénue; she was at her best performing "Amber's Blue."

But there was a mysterious glitch in the pace of the production, a hesitation beat possibly directed by Earle and Elizabeth Halbe, possibly written into the music, or possibly just actors not picking up cues. Whatever it was, it slowed the action down. There was, however, plenty of amusing action.

Both musicals in their creation stand as touching testament to high-level local talent: 1) Sunshine the efforts of Ben Harrison, singer-songwriter-author of Undying Love (you know, Elena and Count von what’shisname), and brilliant actor and suave radio host Richard Grusin and 2) Mavis of retired TV sitcom writer/producer Blake Hunter and the concert pianist-composer-professor who comes closest to being Key West’s Mr. Music, Franko Richmond. All four are highly respected and dearly loved men about town.

The common thread, other than that I enjoyed both as entertainment but can’t remember a single song, is Rick Worth. Worth deserves a double bow here – he did sets for both shows, producing a clever convertible double desk/buffet for Sunshine Inn (working around two very large trees on stage) and the perfect whimsical cartoon backdrops for Mavis. In addition, his Three Legged Dog Studio is credited with the bear costumes, which give new meaning to bear bottoms. (I particularly loved the soles of their feet . . . .)

With deft direction by Joy Hawkins, the acting in the “musical fable for grown-ups” was up to the Red Barn’s standard. But what the hell is it with John Wells and animals this season? First it was that gay ram, then an aging German shepherd, now Papa Bear. I wish his make-up had extended past his jaw line on the sides (he was a gray bear) – but otherwise he was wonderful. (Yeah, he made me cry again.)

On the other hand, Mama Bear Kathleen Peace’s make-up was flawless. So was her acting – wise and gentle. And vocally she is incomparable. But her colleagues were far from eclipsed. Kristi Davis’ Mavis is redneck perkiness (they called it pluck) personified, and her stage presence hasn’t dimmed since she was the brightest light in South Pacific. David Black as Floyd is over the top – so what else is new? – and initially as unlovable as his narrator character in Reefer Madness. (The contrast in these characters is proof of his versatility.) He has fun here, though, flitting gaily from one stereotype to the other.

Bruce Moore is such a pro he’s often above and beyond local performances. Here he’s above and beyond the local hemisphere as Mr. Clairol, the motivation for Mavis’ transformation. As Teddy Bear, young D.J. Williams was fine – and better than fine once he regained his voice, which is nice for talking and super for singing.

So if you like heartwarming charm and a quintessential Key West musical – rising above the crass speciesism (is that a word?) of One Human Family to depict the super-humanity of our furry ursine friends – catch Mavis and the Three Bears before it closes on Saturday. For a gentle send-up of the hospitality industry, you have till Sunday night to see Clouds Over the Sunshine Inn.

And those intermission cream puffs drizzled with caramel are to die for.

That said, high season is definitely ending; snowbirds are winging North; the Keys Chorale, assembled for the special finale that is their annual outdoor Spring concert, had fewer voices than I can ever recall – and suffered for it. It really only sounded like itself, full-powered, in the penultimate signature tune (I never know whether it’s titled “Coming Home” or “Misty Morning” or something else), when Chorale alums were invited on stage, and in the finale, when they stayed to sight read “Amor Vincit Omina (Love Conquers All)”. Previous concerts under Dean Walters’ direction have been magnificent – and retired Chorale founder Emily Boyd Lowe is a very hard act to follow, I think – so it wasn’t the direction. The redheaded fox disagrees with me on this (we disagreed a lot last weekend – she also failed to see the operetta quality of Mavis, where I saw bath narration and character development as strongly music-driven), but the concert seemed rather anemic. I hope they’ll again be in full voice next Fall.

Theater arts may be waning, but the literary and fine arts never rest in Key West. Look for more attention to publications, galleries and exterior sculpture venues in the near future.