HOME PAGE SITE GUIDE SEARCH REVIEWS REVIEW ARCHIVES ADVERTISING AT CURTAINUP FEATURES NEWS Etcetera and Short Term Listings LISTINGS Broadway Off-Broadway NYC Restaurants BOOKS and CDs OTHER PLACES Berkshires London California New Jersey DC Philadelphia Elsewhere QUOTES TKTS PLAYWRIGHTS' ALBUMS LETTERS TO EDITOR FILM LINKS MISCELLANEOUS Free Updates Masthead |
A CurtainUp Review
Restoration Comedy
Vanbrugh’s Relapse was written as a sort of sequel to Cibber’s Love’s Last Shift, a play that was a mega-hit but that Vanbrugh scorned as being “inauthentic.” Following in the day’s vogue for appropriating other playwrights’ work, Vanbrughrefashioned Cibber’s characters to suit his own moral introspections and attitude. But you don’t have to be steeped in the details of the Restoration comedy or familiar with the literary vendetta that sparked between Cibber and Vanbrugh at the close of the 17th century. Freed’s work stands on its own mirthfulness. Once the refreshments are served and a talk-fest with the actors ends, the play proper unfolds. The virtuous Amanda (Allison Buck) tries to re-tempt her prodigal husband Loveless (James Fouhey) to falling in love with her again. A rake Worthy (Seth Moore), in spite of being a friend to Loveless, is hopelessly smitten with Amanda. A high-society fop Sir Novelty/Lord Foppington (Stephen Stout) schemes to marry a rustic country maiden Hoyden (Bonnie Milligan) to inherit her father’s (Matthew Cox) money, as his brother Young Fashion (Erik Olson) hatches a counter-plot to undo his nuptial plans. A femme fatale Berinthia (Rosa Gilmore) adds spice and more to this juicy tale of marital disharmony. By play’s end, all the characters have learned that they fall far short of their personal aspirations, and the couple’s wonder if fidelity and marriage can happily co-exist. JuliaNoulin-Merat’s set see-saws between magnificent and minimalist. There’s a Baroque-styled archway to represent a London cityscape, secret panel-doors that accommodate sex frolics, and small square platforms strategically placed along the narrow performance space. In one of the funniest moments the character Loveless points out the dilemma of acting on a threadbare set. Breaking the fourth wall, he pleads with audience members to turn away their eyes from his present intrigue: “Don’t look at me like that! . . . Where shall I hide myself? That I shall remain undetected! God these minimalist sets!!.” The re are other hilarious metatheatrical touche. Loren Shaw’s costumes are the stuff of the Restoration with a diverse array of periwigs and fabulous couture. The clothes are the thing here. In fact, in the opening scene Loveless winkingly confides to the audience: “Tonight we bring you a tale of Restoration Ladies and their Beaux so that — Oh, let’s just be honest, so we could get to wear the CLOTHES!!” Needless to say, the acting is crucial to making things and the ensemble taps into the nuances of of the comedy with contemporary flair. Stephen Stout’s Foppington is picture-perfect as the King of Fashion. Seth Moore’s Worthy is smooth as silk. James Fouhey’s Loveless is rakish with a capital “R.” But the male actors are not the only ones who shine. Allison Buck’s Amanda is the very soul of sincerity, and is effectively countered by Rosa Gilmore’s Berinthia. A shout out to all in the cast for their incredible resourcefulness as performers, and their genuine warmth as hosts during this very full evening. If you have never been to the Flea, consider catching Freed’s Restoration Comedy before it shutters. In the hustle-bustle of the holiday season.
|
Slings & Arrows- view 1st episode free Anything Goes Cast Recording Our review of the show Book of Mormon -CD Our review of the show |