Commedia dell’arte, the theatrical art form originating in Renaissance Italy and which has since been lost and found many times, has been joyously resurrected in Muhlenberg’s Baker Theater with it’s current production of “The Servant of Two Masters”.
At this point in the review, one usually instructs the reader in the history and fine points of Commedia, but suffice it to say, it is composed of stock characters- or should I say caricatures, of many human types, usually involved in a convoluted web of a story line. May I say, the company of players another extensive support team and fine direction remind us of why “com media” is so ensuring. The characters, each with their distinctive styles, present a comedic smorgasbord for the audience, with the many asides helping to clarify the deeper, or perhaps not so deep, motivations of each. There is no fourth wall in com media. WE’re all in this together.
After a short period, during which the actors (in full costume) do individual warm-ups, we are suddenly transported to the home of the bent, miserly Pantaleone (Matt Kempner) whose fluttery daughter Clarice (Lydia Jordan) is about to be ecstatically engaged to earnest, foppish Silvio (Tommy Walters) son of the pompous Doctor Lombardi, 
played by David Raccio in a manner strongly reminiscent, in a good way, of John Cleese. Alas, however, Pantalone had originally promised his daughter’s hand to Federico Rasponi who is thought to be dead, but has now appeared at Pantalone’s door to claim his bride and, more importantly, her dowry. It is here that we are introduced to the apparently foolish Arlecchino (Henry Evans), the servant of the title, whose entire life seems to be reduced to a culinary quest. We quickly learn that Federico is, in fact, dead and is being impersonated by his sister, Beatrice (Kim Rogers), who displays far more manly dash and verve than fops around her, and who is actually pursuing the dowry due her as her late brother’s next of kin. The story is advanced with the aid of misunderstandings, lies, secrets and gentle conspiracies as we stumble towards a happy conclusion. Along the way we encounter fugitive Florindo ( Christopher W. Torres) with his silly laugh and entitled air, who is both Beatrice’s lover and the murderer of her brother, Federico. Morally malleable Brighella (Patrick Smith), an innkeeper who knows Beatrice’s secret, Smerladina (Helen Laser) as Clarice’s maidservant- the only player without either a half-mask or whiteface- who manages to turn Arlecchino’s mind from his stomach to another part of his anatomy, and the porters/waiters (Kevin Rogers and Jordan Elman) who greatly assist Arlecchino in his extended scene of juggling and acrobatics which closed Act II.
I hesitate to pick out favorite performances, but, of course, one must give kudos to Henry Evans for a great comedic performance with the addition of a lesson in movement and incredibly smooth acrobatic turns. "Light of foot” and “effortless" are words that come to mind.
This is a truly ensemble piece reflecting the troupe quality of commedia -every character gets his/her moment-and the performances were across the board terrific. I loved Beatrice’s take-charge attitude and Clarice’s petulance and curious vocalizations. Especially enjoyable was their scene together in which Beatrice reveals her true identity.
I was shocked by Matt Kempner’s youthful appearance when he lifted the ancient, L-shaped Pantaleone’s mask at curtain call. Helen Laser as Smeraldina, (yes, I have a crush) won the audience’s heart with her saucy asides. Tommy Walters’ physicality could not be ignored, nor could his posing. I loved his sword problem.
David Raccio, ready to explode as Dr. Lombardi, was larger than life, and Christopher Torres was the perfect upper-class-twit-as-ardent-lover. Kevin f. Rogers and Jordan Elman lent amusingly sly support to the action.
To those who missed this production, I can only say: “Pay attention to Muhlenberg College productions!” Sets and lighting are always excellent- Curtis Dretsh does it again- the costumes, beautiful. I could go on and on and on….