I've gotta hand it to UVU Theatre; they don't do things like everyone else. I wouldn't have been willing to make the drive to Orem for yet another October production of "Dracula" or "Little Shop of Horrors," but I've been chomping at the bit since August at the prospect of seeing "Something Wicked This Way Comes," the almost-never produced stage version of Ray Bradbury's 1962 novel about an evil carnival.

Bradbury wrote this adaptation himself, and I'm debating whether that's a good thing, as there are important themes in the 1983 film (which incorporated the talents of another writer) that seem underdeveloped in the play. Still, experiencing this story live feels much more like a treat than a trick.

The story, set in 1922 Illinois, revolves around William Holloway (Topher Rasmussen) and his best friend, Jim Nightshade (Chris Vest), who are both just a few days away from turning 14 and are in a hurry to grow up. There's also a lot of focus on Will's father, Mr. Holloway (Jason Sullivan), who is struggling to come to terms with aging.

The concerns of all three are addressed when the town is visited by a carnival, led by Mr. Dark (Wes Tolman). After spying on the workers, Will and Jim learn that the carnival is in the business of capturing people's souls, and contains a carousel that can run forwards or backwards to make people older or younger.

The strongest scenes in UVU's Oct. 24 production were those set in the library where Mr. Holloway worked, in which he pontificated on the nature of good and evil. In Act I, it was an abstract concept that didn't hold the boys' interest, but in Act II, the discussion took on a sense of urgency and importance as they were faced with the concrete danger of Mr. Dark.

Jason Sullivan was the standout among the lead actors, not only for his ability to convincingly portray a 54-year-old man, but for his simple, genuine approach; he had an earnestness reminiscent of Jimmy Stewart.

Chris Vest was also charmingly unaffected as Jim Nightshade, the good boy drawn toward the darker side of life; and both he and Rasmussen were adept at emulating the running gait of barefoot 13-year-olds.

One standout among the supporting players was Anne Marie Jensen, whose voice and mannerisms as Young Mrs. Foley were a perfect impression of the actress playing her older self. Another memorable supporting actor was Robbie Pierce as the Beetle Freak, a carnival performer who slithered and oozed about the stage like black tar.

One of the best moments in the production was the way the hunched, cackling carnival workers became amusing and pleasant the instant that the carnival opened -- an effect they achieved merely by straightening up and adding smiles to their faces and voices as the lighting brightened.

The carousel made of canvas was the best bit of scenery; it rose and lowered from the ceiling when needed, and the horses were creepier because they were formed by costumed actors. A large wooden structure filled much of the remaining set. This allowed all the freaks to come rushing out of various doors as if invading the characters' minds, but it also added a heaviness and solidity to some scenes that might have been better served by a starker look.

Video effects like rustling leaves and falling rain added to the production, as did a special effect involving a flaming Bible, and the sound design added just the right amount of ominousness and hope.

Bradbury's stage adaptation might not spend enough time on things like the folly of Jim Nightshade's hurry to grow up, and it leaves some questions unanswered (like why The Dust Witch at the carnival suddenly ages). Its "smile-your-fears-away" message can also seem a bit cheesy.

But it's still full of many good thoughts to ponder, like "No man's a hero to himself," "Most men jump at the chance to give up everything for nothing," "Being good does not equal happiness," and "Evil has as much power as we give it."

UVU does the story justice, and it's great, spooky fun to see something different this way come.