'A Servant to Two Masters'

ImageImageMistaken identity, cross-dressing and all manner of farcical goings-on were the order of the day as Loreto staged its latest whole college production. Over two nights, enthusiastic audiences were treated to a 1920s update of Carlo Goldoni’s 18th century comic masterpiece, A Servant to Two Masters.

ImageInspired by the tradition of silent screen classics director Danny Price chose to use a minimalist set with authentic looking silent movie type backdrops to keep the audience up to speed, and complementary music composed and performed by A2 student Oliver Vibrans, assisted ably by pianist Elizabeth Martland. This device worked perfectly, creating just the right atmosphere and, most importantly, allowing the audience to focus on what is most important in the play: the comic verbal interplay between the various characters.

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A hard working cast coped admirably with the considerable demands of the piece, showing excellent comic timing in the delivery of dialogue, and a great relish for the physical slap stick elements. Freddie Watkins was an engaging Truffaldino, the original cheeky chappy. With his knowing asides to the audience and boundless energy, he seemed perfectly at home on the stage, exuding an air of great enjoyment and confidence. Catherine Blindell was hilarious as the cross dressing Beatrice, at one point using the comic potential of a rogue false moustache to great effect. Jasmine Nisic and Hannah Burke squabbled effectively as Pantaloon and Lombardi, Hannah rolling her ‘rrrs’ with tremendous flair. Sarah Mather was a suitably lugubrious Brighella, whilst Oliver Ruiz-Butterworth and Olivia Cramsie were well cast as the confused lovers, Silvio and Clarice, and Kyle Rowe was a convincing Florindo. Monica Cole-Simonetta and Nigar Abdullayev, as the waiters and porter, worked tirelessly to keep the tempo high, and special mention should be made of Nazma Begum’s comic tour de force as a frankly rather scary man-eating Smeraldina!

The cast was ably supported, as ever, by Tony Fennell and Daniel Carrington, who ensured that the set and lighting were both perfect for the piece. A thoroughly enjoyable evening all round!