The Servant of Two Masters
written by Carlo Goldoni (translated and adapted by Jeffrey Hatcher and Paolo Emilio Landi)
Directed by Paolo Emilio Landi
Where: Thompson Theatre at the Roselle Center for the Arts
(University of Delaware, Newark, DE)
When: Saturday, November 16, 7:30pm
Photo by Paul Cerro
The University of Delaware's Resident Ensemble Players' production of The Servant of Two Masters starts out with an image of fantastic directorial inspiration -- one that had the audience applauding right from the start...and rightfully so. (I'll leave the specifics vague to permit future guests the same surprise I experienced.) Combined with the wonderful scenic design of Scott Bradley and the lovely costume design by Santi Migneco, Italian director Paolo Emilio Landi has transported his audience to the beauty of 18th century Venice. Presenting a Commedia dell'Arte theatrical form of acting, this adaptation of 18th century playwright Carlo Goldoni's work feels like a bit of a change from recent comedies performed by the REP. With much of the cast wearing masks, we're treated to verbal puns, double entendres, improvisational moments, and slapstick humor.
However, as is typically the case in seemingly every single solitary comedy written prior to 1850, much of the comedic elements of the storyline stem from mistaken identity. Not knowing anything about the play prior to its start (and not having an opportunity to read the playbill before the show began), my heart sank a little when I discovered this plot point. While certainly not the fault of the REP, I took a little more for me to become invested in the rather stock story the play presents of servant Truffaldino (played by new REP member Lee Ernst) serving his two masters Beatrice Rasponi (Kathleen Pirkl Tague) and Florindo Aretusi (Mic Matarrese) without either of them knowing about the other. This proves to be a tricky task, particularly because Beatrice is actually dressed up as her dead brother Federigo in order to try and claim a stake in his profits prior to his death. Those stakes are dowry money which means that Beatrice has to pretend to be in love with Clarice (guest actress Erin Partin) who was set to be betrothed to Federigo. But, since things are never easy in 18th century Italy, Clarice, assuming Federigo was dead, is now set to be married to her true love Silvio Lombardi (Michael Gotch). What chaos! And all of this is presented to us as if a troupe of actors arrived on the scene (which harkens back to that wonderful opening moment I alluded to above), meaning character is broken at times as the actors deal with "real life" struggles.
With all that story, you'd think that the play's 165-minute running time would've been jam packed full of plot, but this is one of those plays that feels like a good hour could've been excised and it would've made a tighter, more successful experience. Fortunately, the second act does move by a bit quicker than the first as the loose ends come together, but as much as I like spending time with the REP, the troupe has a tendency to choose some lengthy productions (particularly in their choices of comedies). I realize this is a silly qualm, but it seems to be one that may be worthy of a look in the future.
Having already mentioned the fantastic set and costumes, let's shift focus to the always reliable REP troupe who don't disappoint. The star of the show this time around to this reviewer was guest actor Erin Partin who has essentially become a glorified REP member without the title over the past year having appeared in numerous productions. Partin seems to be channeling Jean Hagen's Lina Lamont character from Singin' in the Rain complete with high pitched vocals and incessant crying spells. She takes what is a "dumb" character and elevates the humor beyond the obvious. Kudos, for sure.
With funny and reliable turns from REP standards like the aforementioned Tague, Matarrese, and Gotch (along with a small, but humorous role for Carine Montbertrand), The Servant of Two Masters is the "welcome party" for newest troupe member Lee Ernst. Ernst's Truffaldino (who is probably best described as a glorified jester moreso than anything else) hardly ever leaves the stage once he makes his first appearance and in seemingly every second he's onstage he's moving. Whether it be the constant quick patter of his feet or the nonstop twisting of his hat, I have to imagine that Ernst is a tired guy at the play's end. His character is an endearing one and thanks to some of the play's calmer moments, Ernst gets us to connect with both Truffaldino and the actor playing him within this traveling Italian troupe. After a tiny role in the REP's previous production this year, I look forward to seeing what else Ernst brings to the UD community in the future.
However, as is typically the case in seemingly every single solitary comedy written prior to 1850, much of the comedic elements of the storyline stem from mistaken identity. Not knowing anything about the play prior to its start (and not having an opportunity to read the playbill before the show began), my heart sank a little when I discovered this plot point. While certainly not the fault of the REP, I took a little more for me to become invested in the rather stock story the play presents of servant Truffaldino (played by new REP member Lee Ernst) serving his two masters Beatrice Rasponi (Kathleen Pirkl Tague) and Florindo Aretusi (Mic Matarrese) without either of them knowing about the other. This proves to be a tricky task, particularly because Beatrice is actually dressed up as her dead brother Federigo in order to try and claim a stake in his profits prior to his death. Those stakes are dowry money which means that Beatrice has to pretend to be in love with Clarice (guest actress Erin Partin) who was set to be betrothed to Federigo. But, since things are never easy in 18th century Italy, Clarice, assuming Federigo was dead, is now set to be married to her true love Silvio Lombardi (Michael Gotch). What chaos! And all of this is presented to us as if a troupe of actors arrived on the scene (which harkens back to that wonderful opening moment I alluded to above), meaning character is broken at times as the actors deal with "real life" struggles.
With all that story, you'd think that the play's 165-minute running time would've been jam packed full of plot, but this is one of those plays that feels like a good hour could've been excised and it would've made a tighter, more successful experience. Fortunately, the second act does move by a bit quicker than the first as the loose ends come together, but as much as I like spending time with the REP, the troupe has a tendency to choose some lengthy productions (particularly in their choices of comedies). I realize this is a silly qualm, but it seems to be one that may be worthy of a look in the future.
Having already mentioned the fantastic set and costumes, let's shift focus to the always reliable REP troupe who don't disappoint. The star of the show this time around to this reviewer was guest actor Erin Partin who has essentially become a glorified REP member without the title over the past year having appeared in numerous productions. Partin seems to be channeling Jean Hagen's Lina Lamont character from Singin' in the Rain complete with high pitched vocals and incessant crying spells. She takes what is a "dumb" character and elevates the humor beyond the obvious. Kudos, for sure.
With funny and reliable turns from REP standards like the aforementioned Tague, Matarrese, and Gotch (along with a small, but humorous role for Carine Montbertrand), The Servant of Two Masters is the "welcome party" for newest troupe member Lee Ernst. Ernst's Truffaldino (who is probably best described as a glorified jester moreso than anything else) hardly ever leaves the stage once he makes his first appearance and in seemingly every second he's onstage he's moving. Whether it be the constant quick patter of his feet or the nonstop twisting of his hat, I have to imagine that Ernst is a tired guy at the play's end. His character is an endearing one and thanks to some of the play's calmer moments, Ernst gets us to connect with both Truffaldino and the actor playing him within this traveling Italian troupe. After a tiny role in the REP's previous production this year, I look forward to seeing what else Ernst brings to the UD community in the future.
Unfortunately I haven't found anything down here to really go see yet--at least that is within my meager entertainment budget. Hopefully I will just stumble upon a really great company theater or something and be set. I keep urging my mom to take advantage of having the UD/REP program right there and go see stuff, but she's got a case of that "one doesn't really realize the value in something until it's out of reach" thing.
ReplyDeleteWith your mother literally right down the street, it's certainly worth a look.
ReplyDeleteThis one wasn't my favorite by any means, but it was a different style of comedy that was interesting to see. I don't know that I'd ever want to see it again, but I appreciate the fact that it showed a different side of 18th century theater.
I was bored beyond belief, and walked out at intermission. And mind you, I was a regular at The Comedie Italienne theater while I lived in Paris. The commentator is on target when he points out the excessive length of the piece. The play takes one (weak) joke and stretches it to the breaking point.
ReplyDeleteIt did get better in the second half but it certainly was all one joke. As much as I love the REP, I haven't been overly fond of a good portion of their choices in plays over the past few seasons. I'll keep supporting because I think they bring a unique experience to the community, but I don't find myself recommending them to others nearly as much as I used to anymore and that's a bit of a shame.
ReplyDelete