| An Irreverent and Lively Evening for Autumn |
At Wales Theatre Company |
| Wales Theatre Company- The Servant of Two Masters , Aberystwyth Arts Centre , October 24, 2007 |
Michael Bogdanov’s production of Goldoni’s “The Servant of Two Masters” arrived in Aberystwyth on a wave of good opinion from Swansea and Cardiff. It was all true and probably a bit improved. If, as reported, the early performances had their moments of languor, it looks as though they had been well ironed out before the journey North. Historically, the play fits mid-way between Commedia dell’Arte and the comedy of character. Michael Bogdanov has been his own adaptor here and given the play a mighty kick away from formality in the direction of near-pantomime. When a sealed letter has been illicitly opened the audience is unapologetically asked to reach under their seats and look for some chewing gum to reseal the envelope. Many did. The first half closes with the rascally Truffaldino first sitting on a monstrous bombe surprise, then slumping face first into it. Purists would no doubt protest but two seats away there was an audience member three days short of her ninth birthday and I was aware of her merriment more or less throughout. For local audiences the play offered the opportunity to see a trio of young actors for the third time in six months on the Aber stage. Richard Munday, after the romantic lead in the summer, displayed a cool, even cruel, lordishness here as Florindo. He was even able to make an elegant arrival in Venice by gondola, courtesy of Sean Crowley’s set, exceptional for a show on tour, with its grand Venetian arch and flower-adorned inn doorway. When the part of Clarice calls for a sudden burst of radiance Laura Clements can do it, second to none. Gareth Richards as the apparent ousted lover Silvio, none too sparky in the brain department, again deploys that energy from previous performances. He leaps on stage from the wings. His grievance has him frequently reaching for his rapier which allows an extended and hilarious three-way fight involving two swords and an umbrella. Moreover, adaptor Bogdanov has given his actor an extended comic scene, a theatrical trompe l’oeil, which Gareth Richards plays to the hilt. In a profession where dedication and skill have to forever contend with caprice and sheer luck of timing these three young actors, with a good head wind behind them, all deserve long careers. The reworking of the text is pretty cheeky. It rings with insults- “posh nobs”, “stinky bastards”, fart-arse” and “lying little prick” are the shorter ones- but it is built to fit the persona of Les Dennis. Fans of Dr Who will know from “42” that a baleful sun will consume those who go too close. I have seen a Hollywood A-lister mangle a stage production with a performance so crafted as to cast all his fellow players into deep shadow. A good star, by contrast, imparts warmth and energy to those within its orbit. That is Les Dennis in this production, just one of a strong ensemble that includes the reliable skills of Kathryn Dimery, Ieuan Rhys and Russell Gomer, all now Wales Theatre Company associate artists. Mozart by all accounts loved this play but died before he could do anything with it. The playwright too has been two hundred years’ dead but odds on he would have approved of what has been done in his name. So the verdict on this particular Goldoni-if it’s not quite the twenty-four carat of Michael Bogdanov’s last production on this stage it is close enough, an innovative, racy re-working and a cause for pride. |
Reviewed by: Adam Somerset |
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