As if dramatized artwork by Watteau in the making, a tale is "painted" first with the use of puppets, then peopled with commedia characters co-directed by the troupes Pantalone. A terrible corsaire has captured and kept Beatrice to present to the Grand Mufti, but Captain Florindo loves and wants to marry her and bring her home to Venice. In turn, Beatrice promises to bring together lovers Arlequin and Columbine. Obstacles to both couples consist of the Captain's rich father Pantalone, the corsaire, and jealous Brighella.
So much for story, which is not as compelling as others the Comedie Italienne's told in recent years. One of the disappointments is that Helene Lestrade's beauty is hidden throughout by an unflattering brown mask. However, the romance is well worth following between Columbine (saucy Valerie Francais) and Arlequin (nimble Nicolas Tarrin) who can pine, yet pull games out of his pocket to involve and amuse children in the front row. Of course, commedia was as much about lazzi as dramatics, and there are several memorable bits here: a stone lion "catches" Arlequin's fingers in his mouth; Beatrice instructs Arlequino and Columbine about the malady of love common to youth, as they spin about; David Clair makes a spectacular balletic entrance as Florindo followed by Arlequin in slow motion. Every time a prop is needed, Watteau paints one.
Beatrice orders lovely music, has it, and sings well. Tick, tocks of "The Clock Symphony" bring the Captain in again, and her voice fades. They're models for later imitation by Arlequin and Columbine, who finally get around to rehearsing marriage. After all question whether the finale should be played as comic or serious, a personified L'Amour comes in on a horse with wings, and the group strikes a pose (in grand dress) before poetry is heard.
