Itay Szor delivers an outstanding performance in the Khan Theatre production of Carlo Goldoni’s The Servant of Two Masters, translated to Hebrew by Nissim Aloni. Brilliantly directed by Ariel N. Wolf, the classic comes to vivid and hilarious life, with touches of contemporary relevance and social critique. Szor, the servant of the title, in white face and the slightly smeared drawn-on red smile of a down-on-his-luck clown, brings – in addition to quicksilver comic timing, outrageously wonderful crowd-work, and physical humor marked by a graceful agility – a vulnerability and tenderness to his portrayal of Truffaldino that made me see the play – which I have seen many times before – in a new light.
Goldoni’s The Servant of Two Masters draws on the Commedia dell’arte, a theatrical form which relies on stock characters whose persona moves the plot along: Pantalone, the rich, miserly, greedy old man; Dr. Lombardi based on Il Dottore, educated, pompous and pedantic; Truffaldino (also known as Arlecchino) and Smeraldina (based on Columbina) the wily servants. The themes explored here involve relationships, class differences, gender identity, and the status of women in society. The play is set in Venice, Goldoni’s place of birth, where the blue canals and ornate buildings make an attractive backdrop in the painted scenery. Yet both the set design by Nir Manor and costume design by Yahal Jaldety reach far beyond the illustrative to inventive and audacious splendor. As the audience find their seats in the theatre, Smeraldina (Nitsan Levartovsky) walks on to adjust the painting of the Mona Lisa on the wall. Dressed in a red with a sweetheart neckline along with a stiff white cap and apron, her appearance resembles a hot version of a character from The Handmaid’s Tale.
Movement and song are an integral part of this terrifically entertaining production, from the musical pseudo-Italian rollicking introduction by Brighella (Gal Zak) translated into Hebrew by Smeraldina, to the various songs belted out by different cast members over the course of the play, from Down in Mexico by The Coasters (1956) to Israeli pop hits like 1973’s Ashlayot (illusions) by Nissim Sarussi and David Chalfon, and many more.
It’s party time onstage, as Pantalone (Erez Shafrir) and Dr. Lombardi (Nir Ron) celebrate the engagement of their respective offspring, Clarice (Anna Pugatch) and Silvio (Shachar Netz). Clarice had been promised to Pantalone’s business associate, Federico Rasponi, but he was killed in a duel. A happy outcome for Clarice and Silvio who are in love. However, when the servant Truffaldino (Itay Szor) announces that his master Federico is not only alive but in town, the business agreement takes precedent over love, much to the dismay of the young lovers. You know things are going to get crazy when Federico rides in on a huge pink horse, and the rider is actually his sister, Beatrice (Irit Pashtan), who is in love with Florindo Aretusi (Yossi Eini) and is impersonating her brother so that she can claim the money Pantalone owes Federico. The funny, convoluted plot is marked by terrific performances from the entire cast.
Irit Pashtan’s successive appearances in different costumes reflect different images of masculinity, and her character’s narrative trajectory reflects the status of women in society and is also a reflection on the meaning of love and relationships. As is the character of Clarice, who appears as one of the ultimate images of femininity and sexuality, clad in the Marilyn Monroe style white dress. A different voice is heard from Smeraldina, a voice of experience and pragmatism, from her perspective as a servant. When Clarice exclaims to Silvio “I’m all yours,” Smeraldina comments: “Won’t you keep something for yourself?”
Yet the heart of the play is Truffaldino, the nimble, clever, servant who finds a way to work for two masters. Endlessly inventive, his verbal acrobatics are marvelously entertaining as he brazenly prevaricates his way through every situation. His goal? It’s simple. He’s hungry, and he wants to eat. There is a poignant sincerity to Szor’s performance that stands out amid the extravagant antics and invites the viewer’s empathy for the hungry servant, who is so hungry, he’s willing to go to crazy, ridiculous, lengths to get a meal.
Upcoming performances from July 15th, tickets and information are available on the Khan Theatre website.
The Servant of Two Masters
A Comedy by Carlo Goldoni
Translated into Hebrew by Nissim Aloni
Directed by Ariel N. Wolf
Dramaturgy: Ira Orlov; Set Design: Nir Manor; Costume Design: Yahal Jaldety; Music: Itamar Gross; Lighting Design: Roni Cohen; Production Manager: Judit Katz; Cast: Yossi Eini – Florindo Aretusi, Nitsan Levartovsky – Smeraldina, Shachar Netz – Silvio, Irit Pashtan – Beatrice Rasponi, Anna Pugatch – Clarice, Nir Ron – Dr. Lombardi, Erez Shafrir – Pantalone, Itay Szor – Truffaldino, Gal Zak – Brighella, Porter, Cook
