Kasey Mahaffy (Photo by Craig Schwartz)
Reviewed by Martίn Hernández
A Noise Within
Through September 28
RECOMMENDED
In adapting Carlo Goldoni’s 18th century classic farce “The Servant of Two Masters” in 2011, British playwright Richard Bean set the commedia dell’arte warhorse in the English seaside resort of Brighton in the Swinging ’60s. Bean’s skillful blending of slapstick, double entendre, and sixties pop culture, coupled with snappy skiffle tunes by Grant Olding, made the work a hit in London and on Broadway. This production boasts precision comic timing from directors Julia Rodriguez-Elliott and Geoff Elliott, an ensemble gleefully embracing the play’s laugh out loud zaniness, and a hilarious turn from Kasey Mahaffy as the much put-upon “One Man” of the title.
It is 1963 and gangster-turned-“businessman” Charlie Clench’s (Henri Lubatti) engagement party for his dimwitted daughter Pauline (Cassandra Marie Murphy) is crashed by the lamebrained Francis Henshall (Mahaffy). Francis, a formerly unemployed musician, is now a new servant to Roscoe Crabbe, Charlie’s recently murdered rival. Charlie had arranged a marriage of convenience between Roscoe and Pauline, but with the mobster’s demise Pauline is now free to marry her true love and her match in senselessness — aspiring actor Alan Dangle (Paul David Story). To everyone’s surprise, Francis announces that Roscoe is alive and just outside of Charlie’s posh digs, leaving Pauline aghast at having to fulfill the former deal.
However, the person claiming to be Roscoe is not really Roscoe; it’s Rachel Crabbe (Christie Coran), disguised as her deceased twin brother. Rachel is impersonating him because she just wants the money that Charlie owes Roscoe so she and her lover Stanley (Ty Aldridge), a foppish upper class dolt and suspect in Roscoe’s killing, can run off to (ahem) Australia. When Stanley arrives in search of Rachel, he hires Francis to find her (Stanley cannot do it himself since he must hide from the cops.) From that point on, Francis takes increasingly loony steps to keep them from discovering his double duty, lest he gets sacked by them both.
Mahaffy revels in the role of Francis, exemplified by a wacky physical fight with himself, his botched attempts at acquiring food (he breaks the fourth wall to bemoan his constant hunger), and his bringing of audience members on stage for bits of frivolity. Murphy’s take on Pauline is also a treat; as she portrays a dim bulb who still stands up for herself, and props to Josey Montana McCoy as Alfie, an octogenarian waiter whose newfangled pacemaker sparks outlandish and scene-stealing physical stunts.
Bean also pokes fun at British politics and culture, and even The Beatles! Trisha Miller as the randy Dolly — Charlie’s feminist bookkeeper and Francis’ crush — dreams of the day when England elects a female prime minister who will enact liberal policies to benefit the working class. Story’s bleach-blonde Alan epitomizes the “angry man” theater zeitgeist of the period, with his spout of narcissistic drivel disguised as artistic expression. Australia also gets its verbal lumps from Bean’s British characters every time the country is mentioned. The Irish fare no better.
A live skiffle band sets the mood at the top, then performs during scene changes. It also backs up Miller, Murphy, and Coran in a peppy girl group number. Frederica Nascimento’s kitschy mid-century set design, Garry Lennon’s vivid costumes, and Nick Santiago’s psychedelic projections bolster the show’s shenanigans.
As the world seems to be burning down around us – literally and figuratively – this comedic romp has enough heart and humor to give respite to the weary along with the grit to carry on. Just remember, the ‘60s may have been swinging in one sense but there were those at the time who found a way to swing back in others.
A Noise Within, 3352 E. Foothill Blvd., Pasadena; Thurs.-Sat., 7:30 pm, Sat.-Sun., 2 pm; thru Sept. 28. www.anoisewithin.org. running time: two hours and 15 minutes with an intermission.
