This review is from Ink19
The Trickeries of Scapin
By Molière
Translated by Tunc Yalman
Directed by Christopher Niess
Starring Lisa Bryant, Aaron Kirkpatrick, Michael Navarro
UCF Conservatory Theater
At the Orlando Rep, Orlando, Fla.
Molière on a trampoline - who would have thought to do that? Certainly not I, but the effect is stunning - no matter what happens in the script, the cast bounces around like Tigger in masks, climbing up and sliding down a theatrical money bar gym set. The plot is hopelessly 17th century - a young man Octave (Kirkpatrick) secretly marries the wrong woman, an over Barbiefied squeaker of a girl Hyacinte (Brittany Berkowitz). His semi best friend Leandre (Donte Bonner) has similar low taste - he's gone for the gypsy chick Zerbinette (Niki Klass). Neither one has told dear old dad, both of whom are business partners. Octave's dad Argante (Todd Davis) is pretty ticked, along with Leander's poppa Gerent (Sam Waters). What to do? Why, appeal to rapscallion servant Scapin (Bryant), that sexually ambiguous master of solving any problem. Along with side kick Sylvester (Navarro), Scapino fleeces each father for a stack of doubloons, repairs the family ties, and reveals that each girl is in fact worthy of marriage. Quite the bastard, that Scapin!
Molière ranks in timelessness with the earlier English Bard, if he falls a few centuries later in time. Perhaps the plot is a hair hackneyed; this clever and energetic production runs the cast up and down the stairs in and out of the lofts of the theater, sometimes attacking each other and often stealing shoes from the paying customers. Scapin is wonderful, alternately boorish and crooked, clever and cloying. While Scapin is low of stature in the community of the wealthy, and ranks high in the eyes of the serving class. His (or her) general "don’t give a damn" attitude and general boldness allows the freedom to do anything. Around Scapin swirls a bouncy and convincing crowd of masked revelers, all representing the stereotypes of pre-revolutionary France. Navarro's Sylvester is the perfect second banana, obedient and fearless, Klass's Zerbinette slathers sex on the stage, and Todd Davis rages impotently as the wronged father - oh, that we could all do that to dear old dad!
Molière skewers the pretense of the day, and enough of the human condition remains unchanged to carry forward to the 21st century. The language is a bit stilted, but not to the point of confusion. What really pulls this production into the new millennia is the adaptation - director Niess puts a clever twist on the staging, and with an abundance of young actors who probably hang out in health clubs instead of bars, this ballistic project flies.
The Trickeries of Scapin
By Molière
Translated by Tunc Yalman
Directed by Christopher Niess
Starring Lisa Bryant, Aaron Kirkpatrick, Michael Navarro
UCF Conservatory Theater
At the Orlando Rep, Orlando, Fla.
Molière on a trampoline - who would have thought to do that? Certainly not I, but the effect is stunning - no matter what happens in the script, the cast bounces around like Tigger in masks, climbing up and sliding down a theatrical money bar gym set. The plot is hopelessly 17th century - a young man Octave (Kirkpatrick) secretly marries the wrong woman, an over Barbiefied squeaker of a girl Hyacinte (Brittany Berkowitz). His semi best friend Leandre (Donte Bonner) has similar low taste - he's gone for the gypsy chick Zerbinette (Niki Klass). Neither one has told dear old dad, both of whom are business partners. Octave's dad Argante (Todd Davis) is pretty ticked, along with Leander's poppa Gerent (Sam Waters). What to do? Why, appeal to rapscallion servant Scapin (Bryant), that sexually ambiguous master of solving any problem. Along with side kick Sylvester (Navarro), Scapino fleeces each father for a stack of doubloons, repairs the family ties, and reveals that each girl is in fact worthy of marriage. Quite the bastard, that Scapin!
Molière ranks in timelessness with the earlier English Bard, if he falls a few centuries later in time. Perhaps the plot is a hair hackneyed; this clever and energetic production runs the cast up and down the stairs in and out of the lofts of the theater, sometimes attacking each other and often stealing shoes from the paying customers. Scapin is wonderful, alternately boorish and crooked, clever and cloying. While Scapin is low of stature in the community of the wealthy, and ranks high in the eyes of the serving class. His (or her) general "don’t give a damn" attitude and general boldness allows the freedom to do anything. Around Scapin swirls a bouncy and convincing crowd of masked revelers, all representing the stereotypes of pre-revolutionary France. Navarro's Sylvester is the perfect second banana, obedient and fearless, Klass's Zerbinette slathers sex on the stage, and Todd Davis rages impotently as the wronged father - oh, that we could all do that to dear old dad!
Molière skewers the pretense of the day, and enough of the human condition remains unchanged to carry forward to the 21st century. The language is a bit stilted, but not to the point of confusion. What really pulls this production into the new millennia is the adaptation - director Niess puts a clever twist on the staging, and with an abundance of young actors who probably hang out in health clubs instead of bars, this ballistic project flies.
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2 comments:
Todd - We tried to wait around to say HI to you after the show last night, but gave up. Your performance was awesome!! And the best part for us (the theatre-goers) is this is just the beginning. Looking forward to seeing you in MANY more productions. - Larry & Mary Lee
Thank You both for attending last night, It means alot.
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