Photos - Bob SearyOur story begins with Carlo Goldoni. it was he who wrote the play on which this two-act Australian musical comedy, written by Nick Enright and Terence Clark and directed by Mackenzie Steel, is based. The Aussie adaptation does the work's origins proud: as commedia all'improviso, the actors not only hone certain 'masks', or types, but ad lib superbly when the odd mishap occurs. Goldoni, who himself hailed from the then Republic of Venice, was prolific and this production comes on the eve of a National Theatre tour down under of Richard Bean's adaptation of CG's most renowned comedy, Servant Of Two Masters. Goldoni, it seems, liked dualities.
The original production of the musical, as I understand it, dates back to late 1979, when it premiered at the SOH, directed by John Bell for Nimrod. It was part of STC's first-ever season and Drew Forsythe played the twins. Now, we've Jay James-Moody as Tonino and Zanetto and, though I wasn't privy to that first outing, I imagine J-M is of comparable standard. And anyone that knows Forsythe's depth of skills and versatility will realise that's a profound compliment.
Tonino and Zanetto may be twins, but they couldn't be less alike: one, a sophisticated city-dweller; the other, a hayseed, hailing from an unpronounceable, multisyllabic, one-horse Australian town. As luck and serendipity would have it, this star-crossed, physically identical pair show up in the same place; Bergamo, unbeknown to each other. Tonino is betrothed to Beatrice (Marissa-Clare Berzins), who chalks up another point in her favour each and every time she appears on stage. She sings in a mock-operatic manner, with dramatic parody to match. In short, she's a scream. Stephan Anderson is Florindo, Tonino's not-so-faithful servant who, in anticipation of his master's arrival, takes every (albeit thwarted) opportunity to seduce Beatrice. He not only has comic flair, but sings beautifully and commandingly, with unfaltering clarity. Debra Bryan's Colombina is a coarse, ribald, lusty, mandating wench, outspoken handmaiden to Rosina (Meagan Caretti). If anyone seemed, at times, a little under confident and recessive in the vocal department it was her. My note? More, Meagan! Bigger! Towering Dean Vince, as the plotting, villainous Pancrazio (who speaks, as against the broad vernacular of, say, Zanetto, in a pseudo-Shakespearean vogue) proved crowd favourite and for good reason. Vocally, he booms; choreographically, he's slick; comedically, he's delectably evil. Zac Jardine is Arlecchino, Zanetto's charge and a colourful clown. Peter Flett, as The Judge (Rosina's money-grubbing father), gives the impression he emerged from the womb to give a vaudevillian performance; one of those dyed-in-the-wool musical theatre types. Solo, he isn't a world's best practice singer, but sheer character gets him easily over the line. Andy Johnston's high-camp (not that this distinguished him from several other characters) Lelio, flashing his sword at the drop of a hat (or glove) was also a treat. As you gather, all-in-all, an almost dazzlingly good cast. It's not that they were flawless, but giving so earnestly and generously one couldn't help but love them. Mac Steel (I know, he sounds like a subsidiary of BHP) comes across as a legend: there isn't the tiniest aspect of physical comedy that he's overlooked; every glance, raised eyebrow and affectation is ideally-placed and timed.
Of course, both cast and crew have sparkling material with which to work. Clark's tunes are catchy, with witty references and in-jokes (which even those in the slightest well-versed in musicals will get), while Enright's ideas and lyrics crackle. The band, under the direction of Mark Chamberlain, is also very impressive. Speaking of crew, bravo to Alice Morgan for her fabulous costumes, each of which enhanced the characters no end; ditto for Sean Minahan's extraordinarily inventive, bang-for-buck set, ingeniously hobbled together from reverse garbage; finally, Matt Young's choreography added yet another layer of comic excellence.
A good time was had by all. And by all, I really mean all. The cast looked to be having at least as much of a hoot as the rest of us. That's the way they do it in Venice. And Sydney, apparently, too. It's far from over yet, but I'm already hoping for a revival. And speaking of revival, there are few better ways to resuscitate a flagging sense of humour. Stupendo!
New Theatre presents
THE VENETIAN TWINS
By Nick Enright and Terence Clark | Based on the play by Carlo Goldoni
Director Mackenzie Steele
Venue: New Theatre | 542 King Street, Newtown NSW
Dates: 13 Nov - 15 Dec 2012
Tickets: $30 – $25
Bookings: 1300 347 205
