Ah, February. Romance and comedy are in the air.  Fortunate for us that the romcoms of the 18^th century are timeless treasures waiting for a unique little theater to reintroduce them.  Mark-Brian Sonna Productions presents their charming take on Pierre Mariveaux’s The Game of Love and Chance.

For seven years, MBS’ mission has been to bring “either brand new works for the stage, world premiere translations of classic works, or adaptations of classic works.”  This mission allows the company to run the interesting gamut from ancient Greek and Roman plays and medieval fare all the way up to the most recent texts. Founder Mark-Brian Sonna, the man with many chapeaux in this company, has executed a smooth and beautiful translation of the play from the French which preserves all of the delicious nuances and raciness of the original that many modern versions have lost.  Subsequently, director Charles Ballinger crafts a complete world for the characters and draws out some of the most refined and thrilling performances seen at MBS.

In the adaptation, it is 1932 Baton Rouge, Louisiana (sumptuous design and props by Alejandro de la Costa, furniture/props loaned from Sonna) and Sylvia (Kristene Littlefield) is a young woman still living at home with her doting father, Monsieur Orgon (Sonna in his sparkling-wry best), who is ready to marry her off to a suitable husband.  He arranges, with her tentative approval, a formal meeting with the eligible bachelor, Dorante (a wide-eyed handsome Blake Owen).  The impish and independent-minded Sylvia decides to switch roles with her maid, Lisette (Shanna Gobin) to better observe the young man.  Unbeknownst to her, Dorante has set a similar disguise switcheroo with his valet, Arlequin (Jon Christie).

It is a conceit that works to great comedic effect and delightful opportunities for hidden amour discoveries.  There is a reason that after Molière, Mariveaux’s comedies are the most frequently staged in contemporary French theater. His plays are famous for offering an exploration of the “psychology of love,” and for his sophisticated, intellectual, and shrewd, heroines.

Littlefield’s Sylvia, the daughter with the “air of a princess” fits the bill perfectly.  She has not merely a striking, and elegant beauty, but the twinkling smile and bright eyes of a mischievous debutante to go along with an incredible commitment to the role that permeates the play, and sweeps all the other actors along with her infectious energy.  Here is to seeing this great talent in more leading roles in the future. Gobin also delivers in her role as the feisty maid who is a match for anyone above her station.  Christie’s impertinent “rascal” of a valet is a worthy counterpart for Lisette’s love.  What a pity that a hoarse voice lessened his full impact. Sonna’s costume design makes impeccable use of fitted tuxedos, period haircuts, golfing knickers and sweater vests, and maid uniforms to finish the feel of the moneyed Old South of the early 20^th century.

It is refreshing to know that one does not have to resort to network television to indulge in a taste for clever and cute plots of mistaken identity and forbidden love.

Photo: Lee Littlefield