Take one part Yale School of Drama, one part George Farquhar, and one part Everett Quinton. Shake vigorously, sit back, and enjoy the show! There are no other ingredients needed to captivate and entertain an audience.
The time seems to whisk away as the third-year acting class shows their rendition of a classic,
The Beaux’ Stratagem. This classic play, written by the Irish-born playwright George Farquhar in the
early 1700s, epitomizes the attitude of the era. Appropriate to the times, the play offers an interesting plot
about deception, greed, and love. The play does not boast an ethical standpoint, though it does have a
moral, and its conclusion may leave much desired for those who believe in justice. The thief is not always
punished, but is often actually even rewarded.
Whether this moral stance is supported, these Yale graduates give an energetic performance that is thrilling to watch. The actors stand strong in the well-lit setting with their hearts obviously in it. They add little gestures and movements, appropriate to character, that heighten the strength of their performances and the entire play.
The opening scene places the audience within an inn in Litchfield, England. The pastel colors and decorations at once awaken the senses. Bright greens and reds reflect from the walls, while an iridescent crocodile hangs from a portion of the ceiling. Boniface (Max Chalawsky, DRA ‘96), the innkeeper, and Cherry Boniface (Sarah Rafferty, DRA ‘96) introduce the scene by serving early customers. Enter the two mischievous brothers.
Archer (Kevin Henderson, DRA ‘96) and Aimwell (Daniel Blinkoff, DRA ‘96) make a deliberate dramatic entrance to the inn with every intention to impress Boniface and his daughter with their wonderful costumes that reflect a wealth that they clearly do not possess. They have come to Litchfield to make well of the people’s money by using their imaginary prestige to establish themselves. “We are the men of intrinsic value,” they chant happily. They throw the only money they have in the air proudly, displaying it to anybody who is within reach. One acts as the servant, while the other acts as the wealthy master. Yet, strangely enough, they never reveal their fake names.
A quick scene change leads the audience to drop in on a discussion between Mrs. Sullen (Amy Malloy, DRA ‘96) and Dorinda (Susan Riley Stevens, DRA ‘96), her sister-in-law, as they discuss the real problem with love. “Oh matrimony,” Mrs. Sullen sighs wholeheartedly. She has a desire to ditch her husband of 14 months. After five minutes of their discussion, the cause of her distress enters the room in a drunken stumble with his trusty (and also drunken) servant. Sullen (Mark H. Dold, DRA ‘96) and Scrub (Jeff Talbott, DRA ‘96) hobble around the room in a drunken stupor, making fools of themselves and insulting the two ladies. Mrs. Sullen is placed in a horrible marriage and Dorinda is forced to side with her sister-in-law instead of her brother. The two women decide to take action by finding the estranged wife another man—an object of jealousy—and hence, bring Sullen back to his wife.
Once again, the scene turns back to the inn, and we further delve into the brothers’ affairs. They plot to gain wealth by first winning over a woman in the church and then by winning over her wealth.
Due to the clear separation between the two subplots, there is an obvious connection and conclusion. In some fashion, the four people will most likely end up in a type of love-entangled relationship. After all, everything that happens in this play happens for a reason.
At one point, a French man, Count Bellair (D.B. Woodside), makes his big opening with a flying leap on his way to seduce Mrs. Sullen. However, when the count hits the ground, he falls and the actor screams loudly. Though it looks out of character, and inappropriate to the play, the actor demonstrates again and again that the man is actually dreadfully clumsy.
Even the fabulous set is completely appropriate. Interactive wall ornaments only help to spice up the existing entertainment. The alligator from the opening scene growls at one point in the play when Gibbet (Steven Memran, DRA ‘96), another thief of the people, asks the innkeeper’s daughter to hide his money within the supposedly dead animal’s mouth. Small gags of this nature fill the entire play in order to lighten this old classic and relate it to the modern day. Facial expressions and general gestures are overdone to also create a more light-hearted atmosphere. The strong performaces of Kevin Henderson and Daniel Blinkoff is strengthened further by their gestures and convincing accents. The other actors, as well, display their abilities by their “in-character” modes. With all seriousness, these Yalies have shown how fun and easy-hearted a play be. Difficult sword- fighting stunts, and almost-slap-stick comedy help to complete the show.
Director Everett Quinton of New York’s Ridiculous Theatrical Company, has done awonderful job of assembling a talented cast and crew to showcase Farquhar’s plot. The modern touches added to the play are completely appropriate and only help to further its success. The light-hearted themes of Farquhar make this restoration play great, while the near-flawless acting of the Yale School of Drama and the wonderful set design, music and choreography make it outstanding.
Copyright 1996, The Yale Herald, Inc. All rights reserved.
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