Irish Classical Theatre comedy is a pure gem

**** (out of 4)

By Colin Dabkowski NEWS STAFF REVIEWER
Updated: 01/13/08 6:54 AM

Say John Waters directed a vaudeville-style telenovela set in 18th century Italy.

Then say, just for the sake of argument, that it starred Jerry Lewis, Humphrey Bogart, Sammy Davis Jr., William Shatner, Jim Carrey, John Wayne, Clark Gable and Marlon Brando, all packed into one frenetic ball of actorly energy named Brian Mysliwy.

Throw in a top-notch cast, a thrilling sword fight, some juggling and more physical comedy than the entire repertoire of “The Three Stooges,” and it might look a little something like Irish Classical Theatre Company’s hilarious production of Carlo Goldoni’s commedia dell’arte classic “The Servant of Two Masters.”

The show, directed by ICTC’s producing director, Fortunato Pezzimenti, is based on a wild and inventive adaptation commissioned by the Milwaukee Repertory Theatre and performed there to great success in 1999.

Set in what the program describes as the “Postmodern Vaudeville Era,” whenever that is, Jeffrey Hatcher and Paolo Emilio Landi’s adaptation of Goldoni’s complex tale of love, mischief and betrayal embraces a clever meta-theatrical approach. Shortly after the play opens, we see a motley crew of touring vaudevillians entering a theater. They’re set to put on a version of Goldoni’s play, but their main actor, who plays the servant Truffaldino, has come down with a vicious cold. On top of that, their prompter has quit and been replaced with a deaf man, the cast hasn’t been paid, and a meddling sponsor hawking a mysterious elixir won’t keep his grubby hands off the production.

But the show must go on and, in this production, it does so magnificently. A rehash of the plot here would take far too long, so suffice it to say that Goldoni’s tale involves a complex and unlikely web of alliances and deceptions, at the center of which sits our hero, Truffaldino. Always in search of food and out for a quick buck, Truffaldino finds himself serving two masters, who, unbeknownst to him or one another, are actually lovers. Just go with it.

Every casting choice in this show is spot-on, from Peter Palmisano as the eccentric father figure Pantalone down to the devious Lawrence Rowswell as the sponsor/porter character. The shining stars of the show, though any individual performance is worth mention, are its two leads, Mysliwy and Elizabeth Laidlaw, both from out of town.

Mysliwy is a comic force to be reckoned with. With what appears to be an endless encyclopedia of vaudeville and Hollywood gags, tricks, facial expressions, feigned speech impediments and impersonations, Mysliwy is a performer in the old style, the sort of lovable, Chaplinesque actor who is less clown than comedic master.

Laidlaw, like everyone else, has to take a back seat to Mysliwy in this show, but does so gracefully and proves herself in a thrilling sword fight with the daft Silvio (Andy Moss) and several fraught exchanges with Truffaldino.

Pezzimenti, in concert with set designer Ron Schwartz, fight choreographer Steve Vaughan and juggling instructor Nels Cremean, have made brilliant use of the theater-inthe- round setting, which lends itself well to the show’s sizable audience-interaction component. Fine costumes are by Tessa Lew, with hair and makeup by Suzan Drozd and perfect sound design by Tom Makar.

There are so many other wonderful tricks and bright spots worthy of mention in this show, but there’s only one way to see them all: Get yourself a ticket while they’re still around.

cdabkowski@buffnews.com

THE SERVANT OF TWO MASTERS
Anthony Chase, ARTVOICE

They say in his lifetime that Carlos Goldoni was controversial, a biting satirist whose wicked wit was always getting him into trouble. You’d never be able to tell from the adaptation of his rollicking farce, The Servant of Two Masters, currently onstage at the Irish Classical Theatre Company’s Andrews Theatre. This is entirely innocuous comedy, designed exclusively to delight—and delightful it is. This is, perhaps, the most satisfying production ever directed by Fortunato Pezzimenti, fueled by powerhouse performances from Brian Mysliwy as Truffaldino and Elizabeth Laidlaw as Beatrice.

The plot is complex and unlikely. In short, mischievous Truffaldino has enlisted himself as the servant to two different patrons, a scheme that promises to be lucrative, but is hilariously impossible to navigate. Adding to the complications, Truffaldino is unaware that one of his master is actually beautiful Beatrice who has come to Venice in disguise—or that this two masters are actually lovers.

The piece has a carnival atmosphere and follows the pretense that a troupe of traveling actors are performing the story in a town square. The evening is brimming with comic antics and physical comedy. Mysliwy, at one point, actually spins a plate on a stick. His performance is unflagging and entirely engaging—as are the performances of the entire crew of zanies. Special mention is due to Sarielys Matos, who is a standout as the voluptuous and irrepressible servant, Smeraldina. Mary Ramsey adds a great deal as the svelte, strolling violinist. Highlights include fight choreography by Steve Vaughn.

I especially admired the set by Ron Schwartz, who has figured out how to turn the doors at the Andrews Theatre into an asset. Mr. Schwartz previously designed Kindertransport for Jewish Repertory Theatre of WNY this season, a similarly excellent design.

Rocket Man Jan. 17, 2007

‘Servant of Two Masters’

            “Servant of Two Masters” provides full employment for funnybones at Irish Classical Theater. With Brian Mysliwy in a title role that seems dreamt up by Shakespeare on helium, the high-cast low-life comedy blends bad puns, worse verse, occasional alliteration and improper props into a stew of hilarity that bubbles over the top.

            "Servant” evolves from an 18^th Century script by Carlo Goldoni who spent much of his life on the outs or in stir for variations on “the king is a fink.”  Two modern playwrights have framed Goldoni’s gender-bending satire with a rabble of have-play, will-travel troubadours. Sample line: CON MAN – “You wanna make some money?” ACTOR – “No, I’m in the theater.” (Almost too true to be funny.)

Deep down is an actual script, implausible but witty, in which the scruffy and illiterate Truffalino signs on as flunky to a couple of troubled aristocrats, one posing as her own brother. Take it from there, and Mysliwy does, with an endless inventory of excess. When he feigns illness, he sounds for all the world like as asthmatic being waterboarded. He flashes characters ranging from Lou Costello to John Wayne and at one point does that plate-spinning routine that sent vaudeville to its grave.

Against this virtuoso workout, others manage their moments. The swordfight between six-foot Elizabeth Laidlaw and Andy Moss puts the musketeers to shame and then there’s Saryelis Matos as the maid to be made. Tessa Lew’s costuming is vague as to period but specific as to intent; when brother-poser Laidlaw swaps her pinstripe suit for a V-neck, gown, it's just one double-breasted outfit after the other

            Sunday’s matinee had a brisk walk-up trade and when a football score was considerately included in the welcome, the response was one of “Who cares, let’s get down to the good stuff.”

Rocket Man believes that a little less would be a lot more. The first act tends to run on, but as Peter Palmisano (great on a ghastly goatee) said in Sunday’s talk-back, every performance is a little different. Into a Buffalo-area theater situation that needs a little laughter, “The Servant” delivers a lot. NINE ROCKETS (out of 10) through Feb. 10.