Servant of Two Masters shows potential of slapstick comedy, A-

By Eri Zhong     11/19/14 3:40am

The Rice University Theatre Program injects a fresh dose of epigrammatic wit and unabashed delight in its fresh take on the 18th century play Servant of Two Masters. A comedy penned by Italian playwright Carlo Goldoni, Servant of Two Masters enthralls viewers with the story of a perpetually-ravenous servant. As is traditional with Italian theatre style commedia dell‘arte, stock archetypes set the tone for this wisecracking play and guide the audience through a zany, boisterous adventure of lazzi, or “funny business.” Those with a penchant for slapstick will find such cravings amply satisfied. 

Exposing coy lovers and their exploited servants, Servant of Two Masters centers around Truffaldino (Dennis Budde, Baker College senior), a classic court jester, who juggles serving two masters in a quest to double both his wages and dinners. Chaos and merriment ensue in modern-day soap-opera fashion, as dual identities and intentions unravel over the course of the play. The Venetian house spurns comedic mishaps and mixups in the larger scheme of potent betrothal and long-lost dowries.

Budde illuminates the stage with his quirky antics. Demonstrating an acute ability to explore within a defined character set, Budde captures Truffaldino’s inner quipster with great investment; every last movement, even the unintentional dropping of a spoon, is handled with the dexterity and charm of a jester. Darting around a dinner table, spitting frantically, Budde justifies his enmeshment in a scene that requires constant action and interaction. Difficult enough for a person to enact such a physical feat, to realize the incredible devotion necessary of an actor to perform the scene while in character is to recognize Budde’s fluency in drama.

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His two masters — the vain, self-adoring Florindo (Justin Bernard, Jones College sophomore) and his lover Beatrice (Yena Han, Duncan College sophomore) disguised as her late brother Federigo — bring further life to the story, albeit in different manners. Bernard ties the tongues of the audience in sheer mirth with his narcissism, whereas Han’s knack for gender bending reveals shades of vulnerability surprising in a comedic context. As Han morphs from male to female, she fluctuates from macho to bubblegum girly in seconds, a talent deserving of praise. Stemming from a tale packed with complications, Han’s character offers a sense of much-needed clarity.

The astounding transformations skillfully applied in the form of makeup, wigs and costume not only embellish the characters of Pantalone (Jake Krauss, Martel College sophomore), Dr. Lombardi (Sam Pearson, Sid Richardson College freshman) and Clarice (Ashley Torres, Jones sophomore), but also emphasize each manifestation of their respective roles. Krauss’ aged features serve to stress his place as the father figure, and Pearson’s realistic beard adds to his apt portrayal of a stooped, pompous elder. The salt and pepper tresses adorning the heads of men effectively draw viewers into a pre-Industrial Revolution era. Torres’ role as a stubborn, fiery bride-to-be is highlighted by her lionlike tresses and the exquisite stack of voluminous petticoats characteristic of the period.

Aesthetically, Servant of Two Masters is a sight to be seen. Aurally, simple baroque music caters to the 18th century backdrop, painstakingly crafted by stage technicians. But in retrospect, the rambunctious, rowdy performances cause an adequate uproar amongst the audience; when solid acting renders an audience fixated, technical strengths tend to harmonize rather than engulf the scenes. A banter-filled, sparkling production, Servant of Two Masters warrants a second attendance — if not for the whimsy, then for the captivating glimpse into the fanciful world of hoopskirts and powdered wigs.

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