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A CurtainUp Review
The Gentleman Dancing-Master
By Shirley Safran
| On Restoration Comedy or Comedy of Manners: . . . depicted the world of its audience, a moneyed and elegant world, a world of wits and rakes, of fops and dandies. Plots resolved around the eternal subjects of attempted seduction and adultery, and the seeking of fortunes through the manipulation af marriage alliances-all counterposed to the successful working out of a romance. . . . The plots had all the stylized and complicated intrigue-none of it to be taken seriously-of the old Commedia dell'Arte farce, but the subject of the comedy was really the hypocrisy, vanity and double-dealing of the elegant world which was itself the comedy's chief audience: human frailty behind a charming mask of wit, intelligence, and elegance. --- Marion Geisinger, Plays, Players and Playwrights |
Sean McNall
(Photo: Gregory Costanzo) |
The 14 year old daughter, Hippolita, of a strict, though absentee father, is betrothed against her will to her cousin, an outrageous, frenchified dandy. Her father, having lived in Spain and now calling himself Don Diego, affects the dress and manner of Spain (including a hilarious Castilian lisp). In order to avoid marrying her foppish cousin, she tricks him into introducing her to a man he disdains, who turns out to be the handsome and charming Gerard. Not surprisingly, when they meet in secret, they fall in love. When they are discovered by her father, Gerard is forced to pretend to be her dancing master, though he can neither dance nor sing. The deception works despite Hippolita's aunt, Mrs. Caution, who, true to her name, desperately attempts to reveal the lovers' machinations, which she sees through. After numerous giddy twists and turns, it all ends happily of course.
The pert and wily Hippolita is a lady ahead of her time, despite her youth. She will only marry for love, and is not above testing Gerard's devotion with the bold (untrue) assertion that she has no money of her own. He, however, remains stalwart in his affections. Marsha Stephanie Black is adorable as Hippolita, with just enough steel to make her a real person. The rest of the cast is equally splendid, with special praise for Sean McNall as Hippolita's cousin, Monsieur de Paris, and for Dan Daily as Don Diego. Their scenes together reach the heights of inspired lunacy. Mr. McNall, attired in pink pantaloons, frilly blouse and a pink peruke seemingly fashioned from spun sugar, looks as though he wandered in from the Village Halloween parade. His garbled French accent, a kind of patois, is a perfect foil for Don Diego's nutty Spanish accent. They are the comic heart of the play, wildly over the top, yet always in control (a function of solid acting technique).
One small quibble: at almost 3 hours, the performance is a trifle long, even after judicious cuts. But the theatrical conventions of the period required songs and extended sword play, so do go. The times are grim and a little laughter never hurt anyone.
The Pearl, in its 21st year is a cultural treasure (pun intended). It brings to the theatre scene every year intelligent and imaginative productions of the standard classical repertoire, as well as the occasional forgotten one, such as this one.
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THE GENTLEMAN DANCING-MASTER By William Wycherley Directed by Gus Kaikkonen Cast: Marsha Stephanie Blake, Robie Leslie Brown, Dan Daily, Sean McNall, Ryland Blackinton, Rachel Botchan, Bradford Cover, John Livingstone Rolle, Heather Girardi, Michele Vazquez. Set Design: Susan Zeeman Rogers Costume Design: Devon Painter Lighting Design: Stephen Petrilli Sound Design & Original Music: Jane Shaw Running time: . Pearl Theatre, 80 St. Marks Place (212) 598-9802 www.pearltheatre.org From 11/10/05 to 12/18/05; opening 11/20/05. Tue at 7pm; Thu - Sat at 8pm; Wed, Sat, Sun at 2pm. Tickets: s $25 - $50, youth/senior rush tickets Reviewed by Shirley Safran based on November 29th performance |
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