“Oh, the stratagems of love!”
Carlo
Goldoni's A Curious Mishap was a
fantastic period comedy, relying on the common theme of mistaken identity, the
machinations of love, and delightful wordplay to put the audience into a good
humor. My initial skepticism (brought about by a recent less-than-stellar
theater experience) was quickly overcome by the talented cast, all of whom have
a penchant for pronunciation and whip-fast comedic timing, and the efforts of
the unseen crew, which silently showed themselves in every aspect of the
production.
This
audience seemed to really enjoy the play, with near silence and very little of
the whispering and shifting that is ordinarily observed in theater audiences.
We laughed, gasped, and snickered at all of the appropriate moments, especially
when the actors broke the ‘fourth wall’. Most tellingly, the play was the main
topic of conversation as the audience members exited the theater and was even a
topic of conversation on Facebook for the rest of the evening and part of the
next day.
A Curious Mishap
featured an ensemble cast, including Philibert (played by Alexander Huff) and
Giannina (played by Brandi Goldsmith) as the main instigators of the events of
the play, followed by various servants, lovers, friends, and dupes in a variety
of roles. Philibert is wonderfully articulate, rolling over the play of words
with skill and articulation. His voice is very much in character, and although
he slightly lacks for sternness and isn’t quite as fatherly as I would have
liked him to be, he is very much believable in his role as a prime mover and ‘philosopher’.
Giannina is very much her father’s daughter, with the same clever manner and
lack of hesitation towards the large and multisyllabic words. All of the cast
members show an immense talent for articulation that is in line with their
steady volume. The only character who could use a bit more practice is Riccardo
(played by Clinton Blackwell, Jr.). While his diction is wonderful, he could
use more volume. Even so, his performance was believable and enjoyable, and
enriched the play. Costanza (played by Ashley Winfrey) was particularly
delightful in her role as Riccardo’s less-than-bright daughter. Projecting and
a articulating the higher-pitched, silly voice that was so perfect for Costanza could not have been easy, and this effort
very much established her character as a comedic foil to the fraught situation.
Gascoigne and De la Cotterie (played by Mark Deyesso, Jr. and Brandon Landers,
respectively) exhibited perfect timing and tones in their first scene together,
wherein the servant attempts to both assuage and manipulate his master.
The
set was beautiful, featuring what seemed to be two ‘rooms’, but proved to be a
flexible number of rooms and hallways. The furniture and backdrop, along with
the medieval harpsichord music, really set the period before the actors even
appeared on stage in their fantastic costumes. And yes, the costumes were
fantastic. They were remarkably accurate, especially Riccardo’s stylish half
cape and frill. The only cast member who could have used improvement was
Giannina, whose costume was either not a great fit, or she was not as
comfortable within it as her cast mates were within their own costumes. The
hair styles weren’t the most accurate, but they were certainly the most
appropriate, especially Costanza's comical updo. The lighting was done well. I could see every
actor’s faces, costumes, and the surrounding scenery, and the lights gave cues
as to which section of the scenery was important at which time. Both the medieval-style
music and the comical voice-overs during the reading of the letters helped set
the scene.
The
use of space was fantastic. The stage originally looked as though it had been
divided into two spaces. Instead, it was an innumerable set of what became rooms
and hallways as the actors strode within them, all perfectly catering to the
setting of the play and the needs of the scene. The actors made fantastic use
of the space, pausing on stairs, falling over sides, eavesdropping behind
backdrops to great effect. The play moved along at a steady pace; not so slowly
that we glanced at our watches and cell phone, but not so swiftly that we
lacked time to appreciate the interplay of words and expressions of the actors.
The
cast worked very well together, making body size/height, level of conventional
attractiveness, and even race disappear into the play. Giannina’s responses to
Philibert made him her father, regardless of their race and height differences.
Marianna and Gascoigne’s passionate responses and gestures towards one another
made their romance obvious, despite their seeming mismatch in height and
weight. Gascoigne and De la Cotterie are to be especially commended for their
command of their bodies. Although the entire cast exhibited fluid and natural
movements, they showed remarkable body control during trips, falls, and
romantic scenes.
The
interactions of the actors really made the play mesh for me. I was initially
reluctant to like this play, being predisposed to be extra-critical of Lawton
theater, but I couldn’t maintain my reluctance after the first three minutes of
the play. The most notable scenes were between Riccardo and Philibert, as they
discussed the benefits of a match with a mere French soldier, between Philibert
and Costanza, as he unwittingly convinces her of a previously unsuspected love
for De la Cotterie, and between Philibert and Marianna, in the particularly
hilarious ‘blockhead’ scene. Although Philibert’s interactions induced the most
laughter, the tenderness between De la Cotterie and Giannina, the
entertainingly one-sided exchanges between De la Cotterie and Costanza, and the passion between Marianna and
Gascoigne all contribute to this fantastic play. I am looking forward to
further Cameron University Theater productions, especially in the current
‘comical mishap’ season.
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