Handcart Ensemble has distinguished itself with exemplary translations
of classics many theatre students have read, but which are seldom
staged. Their latest offering, Goldoni's delightful comedia
dell'arte romp, was given a spirited, elegant translation
by Michael McCurdy and J. Scott Reynolds, and fun-loving treatment
by Handcart's finely tuned ensemble. The story was seamlessly
updated to the 1950s. Director Adam Houghton's deft touch and
gentle humor guided the hijinks that never deteriorated into slapstick
or obscenity, both of which are common traps in commedia
productions. This production should serve as an example to show
that updated comic classics need not be vulgar to be uproariously
entertaining.
Mirandolina is the high-spirited mistress of an inn frequented
by wealthy aristocrats, many of whom are smitten with her. The
coquettish Mirandolina makes good-natured sport of her many admirers,
driving them to distraction. The Marquis of Forlipopoli and the
Count of Albafiorta think themselves the major players until the
supposedly woman-hating Cavalier Ripafratta comes on the scene.
Predictably, he too falls hard for Mirandolina. The proceedings
are enlivened by the appearance of Ortensia and Dejanira, two
actresses passing themselves off as noblewomen. Ultimately, Mirandolina
mends her flirtatious ways and decides to marry Fabrizio, a valet
at the inn, who was her late father's choice for her.
Veronique Enos's Mirandolina charmed the audience with
her warmth and free-spirited sense of humor. Barrett Ogden
was a whirlwind of manic energy as the handsome Ripafratta. Kevin
Ashworth's pompous, posturing Marquis was a riot, as was Ian
Gonzalez's matinee-idol Count. Tod Mason was extremely
appealing as Fabrizio, the voice of reason amidst the chaos. Meredith
Higbee's Dejanira was a deliciously vacuous, blonde bombshell,
and Caroline Stone's glamorous, worldly Ortensia was a
delight. Reynolds was adorable as Ripafratta's bungling servant,
who was in constant danger of losing his pants.
The simple set (uncredited) set off the exquisite period costumes
by Mireille Enos and the subtle, effective lighting by
Tamara Shelp.
Writing 2
Directing 2
Acting 2
Set Design 1
Costumes 2
Lighting/Sound 1