Honolulu Theatre for Youth's season opener is a visual extravaganza that garners more attention than the play's simple message.

"Nightingale" is based on the Hans Christian Andersen story of an emperor who learns an important lesson from the sweet singing of a plain bird, adapted for children's theater by John Urquhart and Rita Grossberg. Aimed at grades K through 4, its strong points are repetition and audience participation — both of which present a challenge in the large Tenney Theatre.

The theater offers, however, plenty of space for H. Bart McGeehon to design an ornamental Chinese framework and generous ramps leading into the audience.

Filling that space are luxurious and spectacular costumes designed by Cheryl Flaharty, whose Iona Contemporary Dance Theatre is known for its stunning visual effects. Not only are the Chinese robes worn by the actors intricate and colorful, they also incorporate musical instruments — like the xylophone worn as a breastplate and the triangle adorning a headpiece.

Flaharty is also credited with choreography, which in her dance company uses body makeup and controlled, super slow-motion movement inspired by Japanese butoh theater. In "Nightingale," that approach is partially seen in Maile Holck's studied, bird-like movements as the title character — who is no longer drab, but gussied up in brilliant turquoise for this production.

But the theatrical slow motion of butoh gives way to pell-mell racing as characters run up and down the aisles, encouraging audience members to bow to the emperor and to raise their hands to offer him flowers.

The approach to movement compromises any expected Iona subtlety, but may be the right approach for a restive audience of 4- to 9-year-olds in a large theater.

And the message? It's clear that the Emperor's continually demanding "More!" will bring him to a bad end unless he changes his ways. If the kids don't get that on their own, some minor underscoring by teachers or parents should bring it home.

One suspects, however, that the play's theme might work more effectively in a small group, where greater intimacy could contribute to participation and interaction between cast and audience.

If that's the case, then HTY has given in to the Emperor's own appetites by opting for more spectacle and getting less involvement in return.