By Ruth Ross
It is an axiom of drama that comedy—whether penned by Aristophanes (Lysistrata), Shakespeare (Much Ado about Nothing) or farcemeister Ken Ludwig (Lend Me a Tenor)—often reveals the darker aspects of human nature. Perhaps that's why writing, directing and performing comedy are so tricky: Too broad and you lose the commentary; too dark and you risk losing the "funny."
This is especially apparent in the latest version of Ferenc Molnár's boulevard comedy, The Guardsman, now receiving an elegant, charming and very entertaining world premiere at The Shakespeare Theatre of New Jersey in Madison. Under Bonnie J. Monte's master directorial and adaptor's hand, this new translation from the original Hungarian by Molnar's great-grandson Gábor Lukin will have you laughing uproariously at the antics of a stage couple while pondering the meaning of identity, trust, fidelity and truth—especially as it applies to actors who professionally assume other personae, create other realities and parade them on a stage. This version emphasizes the darker aspects of the relationship among the three main characters, a triangle fraught with sexual tension, yearning and deception.
Married just six months, the Actor feels he is on the way out as his actress wife, Hélène, plays gloomy Chopin piano nocturnes, cries unexpectedly and stands at the drawing-room window for long periods of time. When roses arrive from an anonymous admirer, she hides the accompanying card from her husband (who has really sent them to test her marital fidelity) and is intrigued enough to agree to an assignation with the suitor (the Guardsman)—really the Actor in disguise. Matters are complicated by the continual presence of Doctor Mezei, an old family friend and critic, himself in love with Hélène and the Actor's unexpected co-conspirator. What follows is the great fun of romantic farce coupled with serious comedy, for you never know, even after you leave the theater, whether the actress has recognized her husband or not.
That Director Monte has assembled a superbly talented cast only emphasizes the multiple layers of the play. As the volatile, jealous Actor, Jon Barker (left) is Ego personified, a Drama King of the first order who can be very nasty toward his wife and anyone else who gets in his way. Barker vacillates between noisy, bombastic tantrums and wily plotting, all the while arousing our sympathy for a man who is obviously besotted with his wife and terrified that she has stopped loving him. Barker does not play his role for laughs; the scrapes The Actor finds himself in are hilarious, yet his character seems to be unaware of how ridiculous he looks. [Above, left: The Actor (Jon Barker) meets The Actress (Victoria Mack) for the first time in costume.]
His wife, played by a incandescent Victoria Mack—she of the gorgeous red hair and imperious manner—evidently had quite a wild romantic past, one she misses now that she's settled down as a wife. As a Diva, she matches Barker snit for snit, tantrum for tantrum, yet her Hélène is a sly one. Does she "play" the Guardsman and make him believes she has fallen for his ruse and been unfaithful, or does she know all along that it's really her husband in a military costume? That Mack can leave us wondering when the curtain comes down is a testament to Monte's direction, Molnar's playwrighting and Mack's talents. [Above, right: The Actress (Victoria Mack) bids The Actor (Jon Barker) a fond farewell as he embarks on his tour.]
Brent Harris's Dr. Mezei (left, with Victoria Mack) is a dignified older gentleman intrigued enough to support the Actor in this ludicrous scheme. His love for Hélène is quite evident, yet he knows he is unable to act on it. He provides a dose of cold water to the hair-brained shenanigans concocted by the two other performers. Wendy Barrie-Wilson is appropriately annoying and proprietary as Mama, Hélène's aging servant and surrogate "mother." A real know-it-all, she argues with the Actor over trifles and gets in the way more than she helps. Actors in minor roles—Saluda Camp as the maid Bette, Sheffield Chastain as a very funny Debt Collector and Noreen Farley as an opera Usherette—round out the cast and lend solid support.[ Left: The Actress (Victoria Mack) and The Critic (Brent Harris) discuss the mysterious Guardsman.]
Brittany Vasta's elegant set transports us to 1910 Budapest; a nice touch is the rather ornate proscenium arch reminiscent of turn-of-the-century theater architecture. The luscious, luxe fabrics of Paul H. Canada's costumes complete the period feeling, with the men wearing spats, form-fitting, elegant dresses for Mack and a silly-looking uniform worn by the Guardsman. Bonnie J. Monte has designed sound to include music by Chopin, Puccini and a waltz composed by Ferenc Molnár himself. Atmospheric lighting by Steven Rosen completes the effect. [Right: The Actor (Jon Barker) apologizes to The Actress (Victoria Mack) after accusing her of lying.]
The Shakespeare Theatre of New Jersey's inventive new production of The Guardsman continues the long tradition of comedy stretching back millennia to the Greeks and Romans. A piece of spun sugar with a hard core that will make you think, it tells an intriguing story enhanced by witty dialogue and performed by talented actors. Who could ask for more? It’s truly the stuff on which dreams are made. Don’t miss it.
The Guardsman will be performed at the F.M. Kirby Shakespeare Theatre, 36 Madison Ave., Madison (on the campus of Drew University) through Sunday, July 26. Individual tickets and subscriptions can be purchased by calling the box office at 973.408.5600 or visiting www.ShakespeareNJ.org online.
Photos © Jerry Dalia, The Shakespeare Theatre of New Jersey.
