‘The Return of Zorro’ rides into Fullerton’s Maverick Theater with style

In the shadows of Mission San Juan Capistrano, under threat of being burnt to the ground during a time of corruption and racism, an especially striking fight breaks out in “The Return of Zorro,” now at Fullerton’s Maverick Theater.

Three combatants grapple in a tightly choreographed, 97-second brawl leading to a stage death that features one flashing sword, two swirling knives and two deadly tomahawks.

Oh, and the men in this show make a showy impression, too!

An action-packed, romantic potboiler, with a cast of 17 — plus three stunt fighters — miraculously inhabiting a compact stage area, “The Return of Zorro,” is the newest well-produced endeavor from Maverick founder Brian Newell.

Andrew Pinon’s leave-no-buckle-unswashed script derives from the century-plus-old novella, “The Curse of Capistrano.”

This origin tale of Don Diego Vega, and his masked adventurer/avenger alter ego Zorro, righting wrongs against craven evildoers in early-day California, was adapted into a silent movie hit in 1920. Subsequent stories, Hollywood updating and a Disney TV show emerged through the years.

Translating movies, no matter how old, into live stagings is impresario Newell’s two-decade personal mission.

And this “Zorro” certainly fulfills the ambitions for a Maverick show: Newell helms well blocked, quick scenes transitioning into black outs, with an atmospheric original score helping bridge bafflingly adroit set changes in the dark, all of it showcasing a cast fully committed to an energetic showing.

“Zorro’s” first act pacing could use a bit of a nudge, perhaps a scene and set change or two less, as Pinon’s script traipses a bit slowly through narrative backstory.

While needed for plot setting and introducing characters, it’s the development of two romantic relationships and some comedy doings at the mission that carry things along until the action roils through a hot boil after the intermission.

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Lots of credit is due for many folks in this one.

The Renaissance Man on strongest display here is Pinon. In addition to writing the show, his central acting turn as Vega/Zorro showcases a formidable skillset as a courtly presence equipped with agile swordplay and a cracking bullwhip. Adding extra danger to his mix, Pinon is also credited as the show’s fight choreographer. (Hmmm, is it too late to retract those earlier comments about Pinon’s script needing tightening?)

Diego courts a long-lost love, Delphina. Liz Alvarado skillfully broadens this figure from a resigned, knowing older woman committed to marrying for security, to believably revealing dormant feelings within her that tamped down her first-and-only true enamorado Diego.

If this was being staged a century ago, the young lovers pairing of revenge-minded Alejandro and Delphina’s daughter Felina would have been known as the “juvenile leads.” Justyn Gonzalez and Alexandra Young share enjoyable comedy charm as a fumbling swain and the snappy-retorting object of his affections. But beyond that, each actor manifests necessary physicality when events are at their bleakest.

As if from the stock company of an old black and white Warner Bros. movie, Kevin Currie proves to be a wonderful dynamic character actor. As Edgar, the newly and mysteriously arrived vice-mayor of Capistrano, Currie early on conveys sympathy and deeper feelings, but he also shrinks back into an excellent, vile baddie, gleeful in the unfettered malevolence buried in his race-baiting motives.

Secondary turns are many and laudable.

As principled Captain Soleil, Edward Bangasser is a formal and austere presence — and possibly the best swordsman on stage? — as well as the show’s stunt/combat advisor.

Sage Forsythe and Chanelle Rose Leva are diametrically opposed — and lethally capable — presences you can’t take your eyes off of during brief appearances as repellent bounty hunter Yessica and Native American scout Two Hawks.

As well as being at the core of that big fight, they also sport the coolest costumes in a well-dressed show.

In the performance seen by this reviewer, the key role of Father Felipe was filled in by Paul Flores. Flores might have seemed a tad young to be stumping around with a cane, but he was solid at investing the Mission’s older leader with a crooked grin while the padre tries to navigate the personalities and politics of wild and wooly Capistrano.

And as Mayor Rivera, corrupt and conniving Glenn Freeze isn’t around long enough to showcase all his veteran talents, but, for goodness — or rottenness — sakes, he certainly dies awfully well near the end of Act 1!

An additional note of admiration goes to the original score from young composer Kyle Reinhardt.

Reinhardt’s atmospheric introductory instrumental anthem and background transitional score channel film music luminaries like Ennio Morricone (revered for the Clint Eastwood “spaghetti Western” scores) as well as tapping slightly dark-key touches conveying a traditional film score’s tense and brooding passages.

Quick thought to prospective attendees — be fleet. The cozy Maverick setting seats only 62 and the theater’s perennial patrons traditionally and greedily grab up tickets quicker than a flashing sword blade can ribbon cut a “Z.”

Three additional weekend matinee performances have been newly added to the scheduled run. Move fast before Zorro’s return vanishes.

‘The Return of Zorro’

Rating: 3 1/2 stars (out of a possible 4)

Where: Maverick Theater, 110 E. Walnut Ave. Unit B, Fullerton

When: Through June 7. 8 p.m., Fridays and Saturdays; 7 p.m., Sundays. Additional 4 p.m. matinee performances on Saturday, May 30, Sunday, May 31 and Sunday, June 7.

Tickets: $20-$38

Information: 714-526-7070; Mavericktheater.com