Snappy, Spirited and Saucy

Malapert Love – The Artistic Home

Paul Valery, a nearly forgotten Victorian poet, once wrote that “Love is being stupid together.” Well, Chicago actor, director and (now) playwright Siah Berlatsky has written a fast-paced comedy about several crazy characters all becoming idiots over love. This world premiere is a riff on the plays of Shakespeare and Moliere. It’s an anachronistic depiction of Elizabethan Spain, featuring nine comical and captivating characters who find themselves immeshed in searching for romance. But, as country singer Johnny Lee crooned, they’re all “lookin’ for love in all the wrong places,” which is what sparks the conflict in this high-camp, high-larious comedy.

The plot revolves around a collection of bizarre characters living at the castle of the wealthy, but idle, Count Montoya. This foppish gentleman’s greatest flaw is that he’s never, ever finished anything that’s he’s started, but that’s about to change. Montoya claims to be in love with his neighbor, the spunky and sublime gentlewoman, Gabriella. She shares her castle with, and is protected and secretly adored by, her Amazonian warrior servant, Lorca.

 Montoya’s closest counselor and cohort is Molyneux, the aristocrat’s court Fool. Montoya’s staff of assorted servants includes a handsome and artistically gifted young man named Skip, who’s secretly in love with his master. Esperanza, another of Montoya’s servants, is Skip’s bosom buddy and confidant. This fair and feisty female alone knows about her friend’s love for Montoya, but she also harbors her own secret passion for Molyneux.

As the play opens, Montoya is writhing and pining away for the lovely Gabriella. Although he doesn’t actually know her, and has never even met her, he’s observed the lady from afar. Montoya believes that society expects that, since they’re both wealthy landowners, they should become a couple. The Count tries to win Gabriella by writing a sonnet, but in describing his love for this lady the results are pathetic. Molyneux suggests that his master might ask Skip, also a creative young artisan of many talents, to serve as his mentor. But when the two begin working together, their closeness awakens in Montoya his true affections for Skip, who’s already smitten with his master. Once Montoya acknowledges to himself that he’s in love with his servant he realizes they could never be together. It’s not because society would frown on a relationship between two men, but rather because it’s a “Malapert Love,” a bold, saucy affair occurring between sweethearts from very different social classes.

Sometimes the planets aline and the result is heavenly. Artistic Home’s latest production is a snappy, spirited and stylish show that’s a laugh-out-loud hit. An intoxicating evening of theatre, this is the serendipitous union of several wonderful creatives in a single production. First and foremost is the play itself. If this comedy is any indication of the writing talents of Siah Berlatsky, she needs to concentrate on her career as a playwright. She’s a gift to the world of contemporary theatrical farce and will soon become a name that everyone will know. Berlatsky’s writing is an homage to Shakespeare. It’s filled with bursts of unexpected hilarity that provoke belly laughs throughout. The only criticism is that the play could use some cuts. It runs two-and-a-half hours long, and modern-day comedies tend to be short, fast and dirty. Berlatsky’s play is just two of the three.

The next component of excellence is director and ensemble member, Julian Hester. He is a masterful theatre artist who knows exactly what he’s doing. Hester is able to bring out some of the finest comical characterizations audiences are likely to see anywhere. He’s guided his company to tell the story directly, speak clearly and with purpose, and to land each joke through careful cadence and succinct timing. Perfection and poetry in motion all combine in this production.

Hester’s cast is excellent. Declan Collins is attractive, gentle and absolutely delightful as the devoted servant, Skip. Petite Emilie Rose Danno turns in a performance of colossal comic genius, proving she’s one fierce actress. Emilie’s gift is that she’s able to speak louder through her facial expressions than most actors can with their voices. Ernest Henton makes a strong Fool, Molyneux. He’s energetic and direct in his movement. Sometimes, however, Henton gets so caught up in the breakneck pacing and dialogue that it’s difficult to understand all his words.

 Karla Corona is absolutely exquisite as Gabriella. She’s the hilarious, often capricious, self-entitled bitch goddess, who rules the hearts of the other characters. Jenna Steege Ramey radiates confidence and commanding capability as the lovesick warrior princess, Lorca. Her skills with a sword are quite impressive (kudos to fight choreographer David Blixt), and the entire company’s combat duel is worth the price of admission.

Veteran actor and company member Frank Nall, who’s dazzled audiences in so many other Chicagoland productions, is delectable as a homeless hero, the streetwise Phischbreath. This actor’s use of deadpan and understatement adds his own special element of humor to this production. Xela Rosas and Luke Steadman are the two hardworking, multitasking Servants, Musicians, Bandits and all-around Jacks-of-all-Trades. Through their stylized blocking they gracefully move the few items of set dressing and personal properties within Kevin Hagan’s simple but elegant stage setting, and even get their own storyline.

But the greatest single reason to rush out and see this play is the wonderful performance by the magnificent Grant Carriker. As Count Montoya, this actor not only defies gravity with his physical antics, twisting and turning his body into every imaginable angle; but his expert command of Siah Berlatsky’s rapid-fire dialogue is pure and impeccable. You can understand each and every syllable that Carriker utters, which at times comes so fast that the audience wonders how he’s able to breathe. His bodily gyrations remind us of a cross between Groucho Marx and a Cirque du Soleil contortionist. And Grant Carriker is a skilled comic actor whose delivery and sense of timing are unrivaled.

Julian Hester’s terrific production of this  incredibly funny farcical take on Shakespearian comedies is nothing but pure delight. Imaginatively and colorfully costumed by Mary Nora Wolf and Russell Yost, romantically lit by Mike McShane and with a lovely sound design by Petter Wahlback, this world premiere will be remembered as the show that introduced Chicago to Siah Berlatsky. My advice is to snap up your tickets now before they’re all gone. Once word gets out about how much fun this play is, audiences will be flocking to the Den Theatre to forget their troubles and laugh themselves silly.           

Highly Recommended

Reviewed by Colin Douglas

Presented November 5-December 11 by The Artistic Home in the Upstairs Mainstage at the Den Theatre, 1331 N. Milwaukee Ave., Chicago.

Tickets are available in person at the box office, by calling 773-697-3830 or by going to www.thedentheatre.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.