Reviewed by: Nick Lawrence on Tuesday 21 June 2011
Venue: Maunsel House, nr. Bridgwater
Type of Production: Play
Producer/Director: Michael Gilbert
Musical Director: Tony Leach
Choreographer:
Show Report
Taking any play on tour is an exciting, yet challenging prospect. You have been doing this for some years now and are getting to be experts at it. This new venue had the added advantages of a warm homely bar in the interval, outdoor fire on arrival to warm up in anticipation and a resident flock of peacocks & peahens who laughed along – not always appropriately. Despite a chill descending about half way through Act One, the air was pleasant and the entertainment such that one was not aware of the chill.
“The Servant of Two Masters” is, of course, a famous play in the development of the theatre and can be subject to a deference which is quite inappropriate. This adaptation (new to me) brilliantly captured the irreverence of the play and was completely up-to-date in pocking fun at all sorts of recognisable foolishness. This certainly added to the comedy and helped keep the audience's attention. It was interesting to hear about the adaptor's interest in the production and her encouragement to bring it totally into our own experience.
The simple setting survived the breeze and the cast. It gave just the right amount of atmosphere without becoming overbearing. I'm not sure that in front of the house would have been more successful as it would have given the voices a sounding board. Entrances and exits were well planned, and with the casts' full immersion in their characters we could start laughing as people appeared in the distance anticipating the next scene. The whole production was hurried along by some extraordinary purpose-made live music. Tony Leach supplied us with some completely zany interludes which totally captured the madness of the plot and characters. Everyone's talents were utilised singing or playing. A completely mad but fitting addition to the play.
Goldoni's characters are, naturally, well-defined and beautifully stereotypical. The situations are obviously signalled in advance, and the gags quickly recognised. This makes for most enjoyable entertainment. It was only during the “service” scene that the gags were somewhat lost in the open air. Perhaps the main action with Truffaldino and the maids could have been closer to the audience so that the spoken gags could be heard as well as the visual gags were seen. There was a moment here where things seemed to become disentangled and slightly sloppy. Despite this the planning of the laying of the meal was very entertaining and Truffaldino had a good foil in Brighella. Jane Edwards made this change of sex work well.
This criticism could not be said to be true for any of the other business, and there was plenty of it. Matt Webber held everything together and achieved the duel reward of the audience's attention and sympathy along with plenty of laughter. His sudden references to Pasqual were beautifully handled aside the well-timed slapstick comedy. He got his just deserts with a good beating and the hand of Smeraldina, hilariously played by Hayley Watson. Her characterisation was immediate to the audience which was quickly won over. Some of the men were suitably nervous of her approach.
Of course, the play relies on the bumbling old men to get everything moving and in Ron Roberts & Arthur Cummins you had a good pair of experienced wind-bags. Their interplay worked well and their experience showed in their ability to get the wordy gags over in the open air. They both used their various physical talents to assist in bringing out the comedy.
Christopher Key (Silvio) and Sarah Twomey (Clarice) made a lovely romantic duo and played the sulky teenagers with modern attitude. This was an excellent pairing with a haunty and slightly ridiculous juvenile lead and a fickle girl with massive mood swings. Sarah's use of fabulous facial expressions was brilliant. What was particularly delightful in this partnership was the use of traditional theatrical moves and poses to accentuate the ridiculousness of their posturing.
Abi Vickery was great as Beatrice, bringing out some of the more absurd features of the girl in the trouser part. I'm not sure the audience completely understood Beatrice's reasoning for pretending to be her brother, but the situation was clear. Abi captured the stutting male very well, wore her costume with style and certainly won over all hearts including Florindo. This can almost become a non part, but John Skittrell gave him courage and stature which worked the plot well.
Kai Clarke, Pauline Tilley and Nikki Court gave the other servants plenty of character and achieved the remarkable success of making their roles more than also-rans. These roles are so vital to the plot and the general comedy, and each actor brought out the most in their varied scenes.
A good lead had been given by Mike Gilbert. The actors seemed at home within the play and their characters and the whole was presented in an immediate and easy fashion. All the departments worked well together so that the audience could concentrate on the play. I'm certain Goldoni would have been delighted.
