Carlo Goldoni showed struggles for ascendency between members of the old aristocratic, wealthy class and of the newly wealthy and socially privileged class in 18th century Venice by embedding them in domestic quandaries. Strain in the relationship of a couple with origins in both classes get mirrored (to some extent) by their servants with seriously funny romantic goings-on.
Helene Lestrade once again shows why she’s the leading lady of The Italian Comedy in Paris as she addresses us. We admire her beauty, set off by a golden gown, and voice. It’s taken on a sorrowful, apprehensive tone and with good reason: She gets news of her Husband’s bills and hints of his fickle ways. Though faithful, she’s upset most by worries about her reputation.
Madame’s Husband soon arrives drunk and disheveled. He complains of his head aching but screams at his wife about most everything else. This sets a pattern for most of their relationships, just as do his visits to his Mistress, a woman (played in drag, broadly and hilariously) with black heart and dress to match.
Harlequin/Arlechino is around, as usual, to flirt with Madame’s Maid and snoop on Monsieur’s orders to his shifty Valet, especially concerning the mistress. In this play, Arlechino is less hungry than the character usually is but just as flirty toward any maid that happens to be around. She’s not above flirtation herself.
Introducing scenes, enjoying much freedom, Arlechino here comments wisely in the manner of a Shakespearean fool. He’s spry as can be and projects personality even in the traditional half-mask. Much of the fun comes from his and the drinking Valet’s back-and-forth routines with a cask of jewels given by Husband to Mistress.
Madame, however weepy, proves patience personified as she works to save marriage and social position. Her visit to the Mistress is memorable. Of course, there’s a letter that helps resolve Madame’s problem with her husband’s attitude and fidelity toward her. A mirror also figures in that domestic reconciliation as well as the relationship of Valet and Arlechino.
Director Attilio Maggiuli doesn’t let the action flag for a moment. All the derived-from-commedia bits get laughs, but the biggest come from the exaggerated evil-doings of the Mistress. As usual at Le Comedie Italian, seeing the elaborate costumes is important to the total enjoyment of play and production. The company under Director Maggiuli never lets us down.
