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Translaptation at the Ranch
Funny, silly The Heir Apparent at Scripps Ranch Theatre
The Heir Apparent at Scripps Ranch Theatre
The Heir Apparent
- Scripps Ranch Theatre, 9783 Avenue of Nations, Scripps Ranch
- 18+ / $28 - $31
David Ives’ clever, silly, fun-filled farce is hitting audiences over the head with its comic shtick at Scripps Ranch Theatre. The work is a “translaptation” — translation/adaptation — from the French original by Jean-Francois Regnard.
Regnard is considered the most distinguished, after Molière, of the comic poets of the 17th century. In addition to writing popular travel diaries, he devoted most of his time to writing comedies in verse for the Comedie Francaise, 23 in total. He depicted a glittering, decadent society in a light, breezy style, sans moralizing.
Robert May, who two seasons ago had a hit with another 17th century comedy at SRT, The Liar, directs shrewdly for maximum comic effect, showing a rare understanding of French farce.
As is common in these plays, a pair of attractive servants run the show with asides and bits galore. In this effort, Kristin Woodburn and Joshua Jones romp through the parts of Lisette and Crispin with obvious joy and abundant energy. Almost too much energy in Jones’ case, although he clearly has the most difficult and challenging role that requires three character impersonations. He is versatile and vibrant at comedy, but he should dial down the intensity for a better overall effect.
Woodburn has a wonderful delivery and is clearly the best at speaking in verse, yet making it sound like everyday speech. That is, until Eric Poppick comes on stage as Geronte, the miser of this piece. He has created a marvelous, raunchy, saucy character and his handling of the verse is truly sublime. Poppick’s gross references to bodily functions are funny because he is fully committed to going over the top, but knows when to button the hilarity.
Ben Williams is competent and amusing as Eraste, the greedy nephew, while Mariel Shaw gives us a wonderful ingénue in Isabelle. The lady simply named Devlin has a lock on the manner of the period, and is most entertaining as the opportunistic dowager, Madame Argante. Amy Dell plays Scruple, the attorney, without losing any of her scruples, but has some very funny moments.
Lisa Burgess’ costume design is colorful and true to the period. However, the uncredited wigs are a shabby lot and could be more carefully coiffed. Bob Shuttleworth’s set is superbly elegant and beautifully appointed. Mitchell Simkovsky’s excellent lighting design shows a keen knowledge of the effect colored gels can have on sets and costumes.
One of the biggest laughs of the evening came when Crispin said to Eraste, “you think you’re rich, check out these sons of bitches,” as he gestured to the well-heeled SRT audience.
Scripps Ranch is to be commended for attempting to introduce their audiences to some of the literary gems of yesteryear. This piece has audiences leaving the theater with a spring in their step and laughter ringing in their ears.
Here's something you might be interested in.
Translaptation at the Ranch
Funny, silly The Heir Apparent at Scripps Ranch Theatre
Translaptation at the Ranch
Funny, silly The Heir Apparent at Scripps Ranch Theatre
The Heir Apparent at Scripps Ranch Theatre
The Heir Apparent
- Scripps Ranch Theatre, 9783 Avenue of Nations, Scripps Ranch
- 18+ / $28 - $31
David Ives’ clever, silly, fun-filled farce is hitting audiences over the head with its comic shtick at Scripps Ranch Theatre. The work is a “translaptation” — translation/adaptation — from the French original by Jean-Francois Regnard.
Regnard is considered the most distinguished, after Molière, of the comic poets of the 17th century. In addition to writing popular travel diaries, he devoted most of his time to writing comedies in verse for the Comedie Francaise, 23 in total. He depicted a glittering, decadent society in a light, breezy style, sans moralizing.
Robert May, who two seasons ago had a hit with another 17th century comedy at SRT, The Liar, directs shrewdly for maximum comic effect, showing a rare understanding of French farce.
As is common in these plays, a pair of attractive servants run the show with asides and bits galore. In this effort, Kristin Woodburn and Joshua Jones romp through the parts of Lisette and Crispin with obvious joy and abundant energy. Almost too much energy in Jones’ case, although he clearly has the most difficult and challenging role that requires three character impersonations. He is versatile and vibrant at comedy, but he should dial down the intensity for a better overall effect.
Woodburn has a wonderful delivery and is clearly the best at speaking in verse, yet making it sound like everyday speech. That is, until Eric Poppick comes on stage as Geronte, the miser of this piece. He has created a marvelous, raunchy, saucy character and his handling of the verse is truly sublime. Poppick’s gross references to bodily functions are funny because he is fully committed to going over the top, but knows when to button the hilarity.
Ben Williams is competent and amusing as Eraste, the greedy nephew, while Mariel Shaw gives us a wonderful ingénue in Isabelle. The lady simply named Devlin has a lock on the manner of the period, and is most entertaining as the opportunistic dowager, Madame Argante. Amy Dell plays Scruple, the attorney, without losing any of her scruples, but has some very funny moments.
Lisa Burgess’ costume design is colorful and true to the period. However, the uncredited wigs are a shabby lot and could be more carefully coiffed. Bob Shuttleworth’s set is superbly elegant and beautifully appointed. Mitchell Simkovsky’s excellent lighting design shows a keen knowledge of the effect colored gels can have on sets and costumes.
One of the biggest laughs of the evening came when Crispin said to Eraste, “you think you’re rich, check out these sons of bitches,” as he gestured to the well-heeled SRT audience.
Scripps Ranch is to be commended for attempting to introduce their audiences to some of the literary gems of yesteryear. This piece has audiences leaving the theater with a spring in their step and laughter ringing in their ears.
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