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FAIRBANKS — Some musicals seek to make a social statement; “Assassins,” which portrays men and women interested in assassinating U.S. presidents, and “Hair,” an arguably hippy-doting statement against the Vietnam War, are examples. Others look only to please, like “The Boy Friend,” a musical comedy of the 1920s.

Fairbanks Light Opera Theatre’s latest production, “The Most Happy Fella” is a more complicated critter.

The Frank Loesser musical takes a sturdy if dated yarn and stretches it over an intricate musical framework. The result has been called operatic, and with good reason. This isn’t some tuneful box of bonbons that will have patrons whistling melodies as they depart the theater — with perhaps the lone exception of “Standing on the Corner”.

Rather Loesser demonstrates a canny ability to elevate standard musical theatre elements to new levels. One only has to hear his weaving together of multiple musical lines, in such songs such as “How Beautiful the Days” to appreciate his vision.

Director Theresa Reed knows music and theater. In her casting she has gathered a strong ensemble and she exploits their talents to wonderful effect. Sarah Hoover provides the most complex portrait. Her character, Rosabella, is a waitress wooed from a distance by the letters of an aging Napa Valley vintner named Tony. Hoover, who possesses a lovely voice, also turns in a nuanced performance as her character transitions from shyness to anger to love, and eventually remorse.

Morgan Reed plays the title character Tony, the “happy fella” who is not always so happy. Reed’s performance is suitably solid and down to earth as the Italian immigrant owner of a vineyard. I was sometimes distracted when he focused too obviously on the orchestra conductor instead of the other characters. Vocally, however, Reed is perfect for the part and in his solos, duets and quartets his fine voice and musicianship shine through.

Brandon Michael is another talented performer with a good set of pipes. His understated handling of “Joey, Joey, Joey” strike the right notes of yearning and sadness. Michael uses such musical moments as Loesser intended: To give depth to a character that might simply be a plot device.

If the dramatic weight is largely hefted by these three principles, the minor characters deliver much of the show’s sparkle. In particular, Francis Lupton is delightful as Cleo, Rosabella’s best friend. Lupton fairly crackles with energy as she delivers her wisecracks and songs. She is nicely matched by Rick Brainard as Herman, Cleo’s love interest. He has an engaging personality and great timing for the comic shtick.

And talk about shtick: Chuck Machetta, Terry McCarthy and William Gilbert steal almost every scene they are in as three Italian chefs. Their spirited rendition of “Abbondanza” is a case in point. Vocally they blend well and comically they play off each other as if they’ve been a team for ages.

Music director and conductor James Bicigo keeps the orchestra and actors well balanced and drives the performance at a good tempo. The West Valley Auditorium seems an ideal size for singers’ voices. They carry to the back of the house without strain and actors don’t have to resort to sometimes problematic individual microphones.

The production elements are worth mentioning. The West Valley Theatre’s stage isn’t large, but Barbara Tudor’s sets are functional and allow the cast maneuverability. Choreographer Robin Yokel has created some charming and appropriately spirited dances that don’t tax the non-dancing members of the cast. Rose Meier has designed some nice period costumes for the 1940s setting.

Watching “The Most Happy Fella” I was reminded of Stephen Sondheim. Like Sondheim, Loesser wasn’t interested in only pleasing an audience with simple melodies and storylines; he wanted to push the musical envelope. FLOT’s latest production reminds us that the history of musical theater is studded with production waiting to be rediscovered.

Robert Hannon is Public Affairs director at KUAC. He's been involved in local theater for 20 years.