Liberty Inn
Dakin Matthews, (book and lyrics), and B.T. Rybeck (music) revitalize Carlo Goldoni’s 18th century masterpiece, “La locandiera” (The Mistress of the Inn) with a lively score and great humor that is infectiously fun. Set in post-colonial America, Goldoni’s comedy of manners features a regular trope of ridiculous would-be suitors all vying for the hand of landlady Mirandolina (Deborah May)—whose love for her personal liberty enamors men with her fiercely independent charms.
Every man that stays under Mirandolina’s roof desires to share her bed with the exception of a misogynist Hessian Captain (Norman Snow) who finds the distractions of women deplorable and a sign of weakness in any man’s character. While Mirandolina expertly fends off the advances of a baroque Count (John C. Combs) and a buffoonish Marquis (John DeMita), she whittles away at the Captain’s brusque indifference until her wily, womanly ways endear his sensibilities. It is simply a game of cat and mouse for Mirandolina, whose business prospers from the men’s competitive attentions, as her loyal and infatuated servant Faber (Bill Mendieta) hopes his unrequited love will eventually bridle the object of his affection’s untamed heart.
Matthews stays well within the framework of Goldoni’s original model, embellishing the dialogue through the characters instead of transposing it onto the characters. Rybeck’s delightful score—to which he outstandingly accompanied on opening night—jauntily underscores the amusing anecdotes and repetitive gags with a bouncy enthusiasm that is absolutely fetching.
The duets between Mirandolina and the Captain are some of the best with the hilarious battle of the sexes in “I Can See Captain,” and the sweetly feeling ballad, “It Can’t Be Love.” Standout numbers, however, go to the solo performances of the Count, the Marquis and the Captain’s submissive, upright aide, Hans (Mark Doerr) who also zealously prefers the company of men. The Count’s “An Old Fashioned Notion” sublimely pokes fun at the unlikely advantages of a British lover with sexual innuendo, and John DeMita’s foppish “Vice-Versa” and “Je Suis Qui Je Suis” are a terrific hoot. The homoerotic duet between the Captain and Hans in “The Company of Men” adds a hysterical twist to the mix followed by Doerr’s adorable cameo in his reprise.
Anne McNaughton directs this delightful cast with panache and a keen eye that avoids cluttered staging. Every member of the cast gives excellent performances even if their vocals aren’t as strong. Norman Snow is an absolute lovable oaf paired with the acerbic coquette Deborah May. The supporting talents fully commit with outrageous accents and comical posturing with special mention to John DeMita’s Python-esque Marquis and Mark Doerr’s properly derisive aide.
For all its laudable strengths, along with an outstanding cast, the musical could stand some considerable trimmings with its current running time at well over two hours. To many reprises bogs down the show’s pace and borders on tedium in certain areas. The sudden appearance of Sofia (Charlotte Di Gregorio) an actress incognito at the start of Act II does little to move the plot along and disappears into the ether without much resolve.
Superfluous, albeit funny scenes between the Marquis and the Count hinder the action and other than providing some smooth set transitions, the character of Faber goes wasted until the surprising, but less than dramatic end. With additional revisions, this show could easily find a grander venue and appears at this point to be finding its stage legs.
Set and costume design by Dean Cameron and assistant David McNaughton elegantly transforms the intimate space into a visually stunning box set fitting for the piece bien faite that would follow Goldonian reform and in keeping with the theme of the modified period. Ryback’s lively accompaniment provides entertaining background melodies for the necessary scene changes.
For those unfamiliar with Goldoni’s work, the feminist themes in this musical and the hilarity that ensues will find a large, pleasantly pleased audience. It is definitely worth a trip into the valley to stay a while and enjoy the merriment of “Liberty Inn: The Musical.” Just say I do!
“Liberty Inn: The Musical”
Runs through April 25
Fri and Sat at 8pm
Sat and Sundays at 2pm
Dark during Easter weekend
New Place Studio Theatre
10950 Peach Grove Street
North Hollywood, 91601
(1 block north of Camarillo)
Gated lot and street parking
PH: 866-811-4111
www.Andak.org