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Eighteenth century Venetian Carlo Goldoni’s major
contribution as a playwright was to reject the
stereotyping and predictability of the commedia
dell’arte in favour of naturalistic characterisation
and plot-driven drama.
His A Servant of Two Masters marked the beginning
of the reform process and retains elements of
the old dramatic order. Director Franko Figueiredo’s
fast and energetic interpretation, blending different
cultures, accents, social classes, the modern
and the antiquated, goes a long way to recreating
the 18th century audience experience of an art
form in transition.
It is improvised, experimental and youthful. It
is not yet the most sophisticated drama and would
benefit from a few ruthless cuts, but its energetic
cast is anything but stuck in the rut of a decadent
tradition.
The centrality of Arlechinno is emphasised by
Figueiredo’s decision to add the name to the play’s
title. Stuart Major wrings out all the agony,
anguish, absurd difficulty and warm human comedy
that is at its most intense in the role of Arlechinno
and more or less present in all the other parts.
Catherine Eccles as his first master Beatrice
is the play’s sternest, most serious character,
while Marcio Mello is more indulgent as his second
master Florindo.
Other characters provide full hearted backup,
ranging from Lisa Benson’s very French Smeraldina,
Arlechinno’s fiancée, to Jillian George-Lewis’
very Scottish Dr Lombardi to William Tombs’ plummy
voiced Pantalone. Tombs also doubles as a porter
in a fine comic cameo that plays its part in confirming
that the audience’s sympathy flows towards wily
servants, not their deluded masters.
Barbara Lewis - The
Stage
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