Commedia Character Shorts- Smeraldina (Chapter 6)

Smeraldina!

Truffaldino (Arlecchino) has met his match in this high-spirited female servant (Servetta)! She occupies a special place among the Commedia characters, being one of the highest-ranking of them all.  Often the only functional intellect on the stage, Smeraldina assists her mistress (the innamorata) to gain the affections of her lover, often while simultaneously managing the whereabouts and moods of the innamorato AND managing the advances of her employer, Pantalone. She may be a flirtatious and impudent character, indeed a soubrette, but unlike any of the other servants, she never loses her keen judgment. Smeraldina is what the Innamorata is not: free, insolent, not slave of love bonds.  She is sometimes brilliant, vain always, a chatter-bug and gossiper, and always prone to intrigue at somebody else's expenses.

Carlo Goldoni uses the Colombina character quite a bit in his plays, clearly enjoying her simply wisdom and non-nonsense approach to life, truth and love. (She also is lucky to marry Truffaldino at the end of Servant of Two Masters!)  Although Columbina became the most widely-used name for this Servetta, other names under which the same character is played in Commedia performances include: Franceschina, Smeraldina, Columbina, Mirandolina, Spinetta, Ricciolina, Corallina, and sometimes in disguise as Arlecchinetta (Harlequina).

• Smeraldina's costume is that of a high ranking servant.  As she sometimes appears as a sort of Harlequin in female clothes, she may be costumed in a dress that is a patched duplicate of Harlequin's.  She has also been known to wear heavy makeup around her eyes and carry a tambourine which she could use to fend off the amorous advances of Pantalone.
• Smeraldina is most usually without a mask, even though all other servants are masked.
• Smeraldina's light foot work matches that of the servants, with her weight shifting quickly and deftly between her two feet.  She also usually has her hands on her hips, with wrists bent an fingers pointing behind her.  They look almost like little wings, and aid her in her flirtatious ways.

Here is the delightful Vanessa Hughes, who plays Smeraldina in our production of "Servant of Two Masters".



As of this posting, only two performances of Servant of Two Masters remain, and only a handful of tickets are left.  Be sure to see this amazing production before its gone for good!

What's so funny about an April Fool?

At Piccolo, we sure love our fools. So in honor of fools and foolishness, I set out to see what I could find about the origins of April Fools Day. It seems I set out on a fool’s errand, because the origins have not conclusively been traced.

There are all sorts of references in early European literature to April 1^st as a fool’s day, as far back as the 1500s. But Shakespeare, who is usually so fond of fools, never mentions it.  According to www.museumofhoaxes.com, there was no scholarly curiosity about the origins of April Fools until the 18^th Century. By then it was so ingrained as an ancient custom that when scholars asked revelers in the street where it had come from, all they could say was “the ancients, man. Hey, what’s that big hairy thing over your left shoulder?”

The New Years Swap Theory

The most popular theory about the origin of April Fools takes us back to France in 1563. The idea is that when Charles IX reformed the calendar, New Year’s Day was moved from April 1^st to January 1^st. Instead of the eight raucous days of springtime partying the French were accustomed to, they got one measly day in the dead of winter. So a bunch of them decided to celebrate in April anyway- or they just didn’t get the news because they lived so far from the local newsstand- and they let loose with the hooplah in Spring like usual. Their neighbors, instead of informing them about the changes like one might expect a neighbor to do, stuck a paper fish on their backs and called them Poisson d’Avril, which is still what the holiday is called in France to this day.  

Poisson d'Avril

1632: Escape of the Duke of Lorraine

My favorite antique April Fools plot concerns the legend of the Duke of Lorraine and his wife. They were in prison, but on April 1, 1632 they had the brilliant idea to disguise themselves as peasants and just walk out through the front gate. Someone told the guards, who were certain the warning was a “poisson d’Avril” and laughed at it- they were no fools! While the guards refused to fall for the prank, the Duke and his wife made their escape. This just goes to show how much fun you can have when you dress as a commoner. I do it all the time.

1686: The English Get the Joke

In 1686 the English antiquarian John Aubrey wrote, “Fooles holy day. We observe it on ye first of April. And so it is kept in Germany everywhere.” So the British, always a little late to get in on the party, were finally in on the joke.  By recording this, the scholar Aubrey managed to get in a good dig at the foolish Germans. I can picture him rolling his eyes and underlining the word everywhere three or four times. What a good prank! The Germans wouldn’t know what hit them until after his death when Aubrey’s notes were published posthumously.

April Fools as a Renewal Festival

There are plenty of holes in the prevailing New Years Swap theory, including the argument that the French never actually celebrated the New Year on April 1^st to begin with.  Some say that was the British, and you know how the French and the English hate it when people get them confused.

To me, the best theory is that April Fools or All Fools Day joins the ranks of the many ancient renewal festivals that marked the coming of Spring. Is there anything better than a festival creating a ritualized opportunity for mayhem and misrule? These festivals usually flipped the social order and allowed the riffraff to be king for a day. They involved disguise, deception, and the general airing out of social tensions in a way that could induce laughter instead of conflict.

Couldn’t we use a bit of that ourselves? As Shakespeare shows us, the best Fool is an honest fool. By staying honest to the real hypocrisies, weaknesses (and strengths) she witnesses, the fool keeps the rest of us honest. I think we could really benefit from the opportunity to dress up like the politicians, CEOs, and Barons of Oil & Industry and prance around with them, eating and drinking and making them shine our shoes. (Or better yet, put on a play for us!) These festivals weren’t mean spirited. They were about releasing the phenomenal power of laughter to defuse dangerous, and very real, social tensions.

April Fools Day bears all the marks of these ancient, powerful festivals: disguise, lying, pranks, and a one-day challenge of social rules of proper behavior. Tomorrow, it’s over. We can be secure that by morning we will be re-affirming society and carrying on as usual; just as the warmth and bounty of Spring is bound to return after even the most brutal of winters.  

-Brianna Sloane, Piccolo Theatre Ensemble Member

Piccolo Theatre and "il Piccolo"

You may not know that your favorite Chicagoland Piccolo Theatre named itself after The Piccolo Theatre of Milan, or, as the Milanese call it, il Piccolo.  Back when our ensemble was forming, there was no question what our name would be. The Piccolo Ensemble did not simply hope to pattern ourselves after this venerable theatre.  Our love of Commedia dell'Arte and our intellectual approach to the art form seemed to to be rooted in the same traditions as il Piccolo.

Our ensemble was lucky enough to see them perform Servant of Two Masters in 2005 at Chicago Shakespeare Theatre. (With the famous Ferruccio Soleri as Truffaldino!)  And to top the evening off, we were able to meet the Teatro Piccolo actors at the post production party.  What a night!  Bella!

Ferruccio Soleri (il Piccolo), John and Jan Szostek (Piccolo Theatre)

What do you know about il Piccolo?  Unless you're really into Commedia or are in the habit of Googling unusual Italian theatres, probably not a ton, right? Just in case you're curious for a tidbit of Italian history, read on!

Piccolo was the first public resident theatre company in Italy. It was founded by Giorgio Strehler, Paolo Grassi and Nina Vichi, and inaugurated on 14^th May 1947 with Gorky's L'albergo dei Poveri (The Hotel for the Poor).

Lady with Ermine- Leonardao da Vinci

Its first location was in Via Rovello 2, in the old Broletto cinema in the 15^th century Carmagnola building. In this building lived Cecilia Gallerani who was Ludovico il Moro's lover and the who was the model for the ‘Lady with Ermine’ painted by da Vinci. This site was restored to improve the hall and the stage. The initial restoration project did not include the restoration of the cloister, but the discovery of some 1400s frescoes (attributed to Bramanteand da Vinci) led to the recuperation of this place too. The restoration works were completed in 2009.

The small dimensions of the hall and of the stage pushed Grassi and Strehler, during the 1960s and the 70s, to ask for a new site for the theatre. During the 80s, Strehler repeatedly resigned from his Art Director position, hoping that his protest would move the cranes that for years remained uselessly parked nearby the Sforzesco Castle. The New Piccolo Theatre was inaugurated only in 1998, a year after Strehler's death. (Chicago's Piccolo Theatre considers is extremely lucky to have a home in the Evanston Arts Depot, and that artistic director John Szostek embraces our small theatre instead of resigning out of protest.)

Today il Piccolo is comprised of three theatre spaces:

Teatro Strehler (new site)

   

Teatro Grassi (the historical base of Via Rovello)

Teatro Studio (mostly for experimental works)

 

Since its early beginnings the aim of il Piccolo has been to deliver drama to those categories of people (retirees, workers and students) who traditionally do not go to the theatre. In the Manifesto of the Piccolo we read:

This theatre (that is ours and yours), the first public City theatre in Italy, is promoted by the initiative of men of art and study, and is supported by the executive authority of those who are responsible for the city life. We do not believe that a theatre is what is left of mundane habits or an abstract tribute to culture. A theatre is the place where the community, meeting in order to contemplate and to re-live, reveals itself; it is the place where it tests a word, to accept it or to refuse it, and where that word, when accepted, becomes the centre of the city's activities and it suggests its rhythm.”
(translated from Italian by Claudia Zanella)

The repertoire of the Piccolo is both international and rooted into Italian tradition: Gorky, as previously mentioned, and Chekhov, but also Goldoni and Pirandello. Brecht has been performed since the late fifties and his theories on dramatic art deeply influenced Strehler. Other tremendously successful and popular works include: The Tempest by Shakespeare, The Thunderstorm by Strindberg but, most importantly, The Servant of Two Masters by Goldoni. This last piece was started to give Strehler some “rest” from his more philosophical works on the role of art, but proved itself to be the ideal play to provoke thoughts on dramatic art; it became very popular, and has been performed around the world for the last 70 years or so.

Thank you to Servant of Two Masters dramaturg, Claudia Zanella for the research and help with this post!   

Commedia Character Shorts- Brighella (Chapter 5)

Brighella!

If you find yourself playing a servant on a Commedia stage, you had better keep your eyes on Brighella!  He is essentially Arlecchino's smarter and much more vindictive older brother. In fact, he has few good qualities save for his ability to entertain the audience.  He's a masterful liar, and can make up a spur-of-the moment lie for any situation. He is an inveterate schemer, and is good at what he does. If his plans fail, it was almost always out of luck on behalf of the other characters. Brighella is loosely categorized as one of the servant (zanni) characters, although he is often considered a member of the middle class, for instance, the owner of an inn in Servant of Two Masters.  As a servant, he will do whatever he can to put himself in a good light and gain his master's approval.  The nobles usually know Brighella to be trusty, helpful and resourceful. However, the other side of his personality is most cruel to those beneath him on the social ladder; he even goes so far as to kill on occasion. He will do anything that is to his advantage, no matter what the cost to those below him. It's probably not stretching the truth to say he would sell his own mother if it would benefit him!

He is an observer, and always keeps his cool...for is something upsets him he will get his revenge later either upon his aggressor or whoever is unfortunately near. His character is usually from Bergamo, same as our beloved Truffaldino. His name by itself briga, brigare is Italian for quarrel, trouble, intrigue.

Brighella mask by Antonio Fava

• Brighella's costume consists of a loose-fitting white smock and pants with green stripes and accents.  He often carries a knife in his belt which is useful as he is often in charge of the kitchen in his tavern or inn...and it's a good reminder to other servants who is really in charge.
• His mask is a half-mask displaying a look of lust and greed.Traditionally the mask is colored olive green.
• Brighella moves like a cat or panther...sly, quiet and light on his feet and always on the prowl. His chin and chest are carried forwards in the manner of a traditional zanni.

Check this out for an insider's look into how Piccolo Ensemble Member David W.M. Kelch approaches the role of Brighella and the form of Commedia dell'Arte in general.




Haven't seen Piccolo's acclaimed production of Servant of Two Masters yet?  Basta! You only have until April 9 and tickets are selling quickly! 
Get your tickets online at www.piccolotheatre.com or call our box office at 847-424-0089.

Commedia Character Shorts- Il Dottore (Chapter 4)

Il Dottore!

Il Dottore is not a physician, he just has a university degree.  To hear him tell it, he probably has several of them. He and Pantalone function together as the old men trying to marry off their children and generally making a mess of it. Pantalone and Il Dottore are the alter ego of each other, Pantalone being the decadent wealthy merchant, and Il Dottore being the decadent erudite. 

They alternate between being each other's best friend and worst enemy and are often the victims of each other's biased advice, but their schemes and machinations always seem to end up in much the same fashion: backfiring on them.  Whereas Pantalone can always take solace in his money, Il Dottore is happy to wax philosophical and will always be ready with a high-sounding misquotation or an elegant malapropism to give closure to yet another misadventure.

The Doctor is a local, disruptive busybody who doesn't listen to anyone else from any of the fields that he claims to know about, which is many (medicine, law, literature, etc.). There is not a subject that he doesn't know everything about.  He is traditionally portrayed as having been educated either in Bologna (he is full of bologna!) which since the Renaissance had one of two of the most prestigious universities of Italy and Europe. He is often extremely rich, generally with "old" money, though the needs of the scenario might have things otherwise. He is extremely pompous, as quick-tempered as Pantalone, and loves the sound of his own voice, spouting nonsensical Latin and Greek in phrases that can go on, and on, and on, and on and onandonandonandonandon.......

• His mask is unique in that it is the only mask in commedia dell'arte to cover only the forehead and nose. It is sometimes black, or else flesh-toned with a red nose. He also reddens his cheeks.
• His costume usually includes a large stomach pad so he looks rather fat (fat = rich), always dresses in black, is well groomed, rich looking.
• Dottore's movement is often in a figure 8 pattern, with his weight back on his heels and his belly forward.  His gestures are as expansive as his knowledge appears to be.

Joel Thompson plays the pompous and hilariously long-winded Dottore in our Servant of Two Masters.



Get your tickets to Servant of Two Masters today, and laugh with us soon! Want to see what the critics have to say?   Click on our review round up here.
Piccolo Box Office: 847-424-0089 or online at www.piccolotheatre.com 

This Just In! Early Praise for Servant of Two Masters

We had such a fantastic opening night with Servant of Two Masters!  I'm not sure who had more fun- the audience or the actors.  Well, we do know that the critics enjoyed it.  Take a peek at what they have to say, and click the links to see the entire review.  We have absolutely nothing to hide with these reviews!

Highly Recommended! "The folks at Piccolo Theatre have emerged as one of the few theatre troupes skilled and disciplined enough to create wonderful Commedia dell’Arte."
-Tom Williams, chicagocritic.com 

Recommended! "Omen Sade is a spectacular highpoint as the title servant. Sade is more than just quick on his feet--he exemplifies physical comedy."
-Dan Jakes, chicagoreader.com

Photo by REP3.com

"...a kinetic exploration of the art of performance...This successful venture is another testament to Mr. Szostek and his cast's love of performance."
-Brian Murphy, Evanston Roundtable

"...A fresh, delightful, and laugh-out-loud funny production. Physical comedy is the order of the day, and director John Szostek has brilliantly coordinated the interactions of a very energetic and acrobatically talented cast."
-Laura Kolb, centerstagechicago.com

"...this company performs pure “Commedia dell’Arte”! And what they do is sheer perfection." -Alan Bresloff, aroundthetownchicago.com

Photo by REP3.com

"This The Servant of Two Masters offers an embarrassment of comedic riches." -Tom Wittom, Evanston Review


"...[Omen Sade] really got to the heart of Truffaldino, and the quick physical movements, the flights of fancy, and the schemes.  He was a delight to watch. -Adam Gertsacov, www.clownlink.com

"...the production delivers charm as well as energy. The simple pleasure of buffoonery – that is the hearty spectacle that Piccolo achieves in its economically tiny space."
-Paige Listerud, chicagotheaterblog.com

Photo by REP3.com

Now what are you waiting for?  Don't get caught in the "I'll buy tickets later" trap. Get them today, and laugh with us soon! 

Piccolo Box Office: 847-424-0089 or online at www.piccolotheatre.com 

Commedia Character Shorts- Innamorati (Chapter 3)

Innamorati!

The Innamorati, or Lovers, are delightful characters!  They create situations of desperation, gossip, envy, and are always stumbling upon obstacles that keeps them apart from their lover...all excellent material around which action can be developed for all of the other characters. Being separated from their lover (could there be anything worse?) gives them reason to strongly lament and moan their state, although when finally face to face, they are at a complete loss for words. Or they speak in an elegantly  heightened speech of the upper class, close to poetry and sonnet. In dire situations, they have the habit of enlisting the help of a servant to act as a medium between the two of them, which of course only opens the door for confusion and hijinks caused by their hapless servants. Very selfish and self-centered, the Lovers are in their own worlds in which they themselves are the most important subjects. Along with loving themselves, they are in love with the very idea of love and what it pertains to. They are vain, thoughtless, change emotions on a whim, and could be cruel and callous while professing the most profound of loves. Attractive and elegant, they can still be as comic and as flawed as any of the other characters.

There can be two sets of lovers in a Commedia dell'Arte play/scenario.  The First Lovers, usually more intelligent and serious, and the Second Lovers, usually flighty and slightly silly.

The First Lovers (sometimes called the straight lovers) in Goldoni's Servant of Two Masters are Beatrice and Florindo. They are cultured, educated, and seem to have a much broader life experience than the Second Lovers.  Their attraction and love for each other is based on the feeling that they are true equals both in character, social status, and intelligence, and as a team they would be quite a force to be reckoned with. Even though the First Lovers are usually the most grounded characters on stage, they are still prone to bouts of deep melancholy, selfishly pursuing their needs with little heed to anyone else, and taking their frustrations out on servants.  Their manner of dress and movement is stylized (see 'posture' below).

The Second Lovers in Goldoni's Servant of Two Masters, are Clarice and Silvio.  They appear quite young and their love for each other is similarly immature in nature.  While still professed as true love, theirs is rooted in image, pretense and pure fluffy romance (think a sappy romance novel). When things are not going their way, they throw tantrums, pout, hurl insults, cry and whine. Their manner of dress and movement is highly stylized (more so than the First Lovers), making Silvio is quite a fop and Clarice a brilliant coquette. 

• The Lovers elegant costumes were always in the latest fashion, (often to styled to excess) and usually of the same color, just in case another couple of Lovers was in the play too. This only reaffirms how much they were made for each other.  Just like couples who wear matching outfits today!
• The Lovers are the only Commedia characters who are not masked. (With the occasional exception of the Smeraldina/Columbina character.)
• The posture that the Lovers take on is that of strong pride. Their chests are expanded and thrust out so that the heart essentially leads them, sometimes seeming to literally pull them across the stage. They balletically point their toes while standing, and when moving, take light, quick steps, giving them a floating appearance.  Overall, they lack contact with the ground and seem to float rather than take steps. Their hand movements and gestures are very grand, expansive and expressive.

Actors Denita Linnertz and Tommy Venuti play the heroic and tragically separated Beatrice and Florindo in Servant of Two Masters.




Actors Deborah Craft and Glenn Proud (married to each other in their off-stage lives) are playing the passionate and hilarious Clarice and Silvio.




Opening weekend was a raving success for Servant of Two Masters!  The reviews are rolling in, and the critics LOVE what they are seeing. We want to have you rolling in our aisles. Visit the Piccolo Theatre Website for information on how to get your tickets today.

Check back soon for links to the great reviews and the next installment of Commedia Character Shorts!

The Music of Piccolo's Servant of Two Masters

From the very first meeting I had with Director John Szostek, it was clear that we wanted to use the music in Servant of Two Masters as a nod to some of the oldest Commedia dell'Arte musical traditions.  Music is as deeply rooted in this tradition as the masks worn by the actors.  But it was equally important not take ourselves too seriously in the process.

The show opens with a rousing version of "Two Fools Went to Venezia", which is based on an old Italian folk song about some gentlemen who go out to show themselves a good time, but end up just getting drunk and sick. See if you catch the name of one of the 'gentlemen'.... as he will reappear later in the show.

The lovers (with the exception of Silvio) all sing songs made famous by Virginia Andreini, one of the most famous prima donna innamorata of Commedia's golden age, generally accepted as the late 1500s-mid 1600s. (This was also simultaneously the beginning of operatic history.)

Innamorati

Clarice sings "Care gioie che le noie" in a setting by Claudio Saracini (Seconde Musiche, 1620). The dark and romantic tone of the lyrics are particularly suited to the scene, as Clarice is just about to kill herself in response to being jilted by her lover, Silvio.

Dear joys that banish the suffering of sighs, that pleasure I have in my breast those scintillating eyes reveal.  Now that vain dream with is false and fair company doesn't feign, doesn't advance that hand with so sweetly wounds my breast.

Unfortunately for Clarice, not only is the sword too large to gracefully pierce her breast, but I set this song to be played by an accordion in the style of a folk tune.  A wink to the audience that we are not to take her too seriously, in spite of her despair.  

Guilio Caccini

Beatrice and Florindo both sing "Tu ch'hai la penne", which is the theme of  their romantic journey through the play. Giulio Caccini composed this piece in 1614 for Lo schiavetto, a comedy made very famous by Andreini.  Andreini sang this piece at the end of that production (accompanying herself on the lute), disguised as a man, and in despair of her character's plight.  It seemed so fitting for Beatrice and Florindo, as they are both in danger, Beatrice in man's dress, and thinking each other dead.

You, Love, who have wings and know how to spread them in flight, ah! fly quickly to where my heart is: and if you do not know the way, follow my sighs.

This is one of the only times in the play that we are allowed to take seriously, as Beatrice and Florindo are the "straight" or "dark" lovers, meaning that their plight carries the plot and gives the play the weight it needs to carry the rest of the comedy.

But lest we take ourselves too seriously and get too buried in all of this beautiful tradition, Truffaldino has a love song too. He must impress the delightful Smeraldina somehow....and he does that with a ridiculous rendition of Louis Prima's "Angelina", played on his mandolin.  Embraced by fans as the Italian-American from New Orleans, his lively love song fits right in to our score.

We bookend the show with another Italian folk song, Notter de Berghem, in honor of Truffaldino, our comedic servant who reminds the audience several times how proud he is to be from Bergamo, a small town 230km from Venice.

-Denita Linnertz, Music Director, Servant of Two Masters

Commedia Character Shorts- Pantalone (Chapter 2)

Pantalone!

You will see a lot of this hilarious character in Servant of Two Masters!  Pantalone is thought, for the most part, to be based on the old Venetian merchants and tradesmen, known for their stingy and less-than-pleasant personalities.  Pantalone is entirely fixated on money and ego, and has the highest regards for his intelligence, but is actually somewhat stupid. He is fond of food and pretty women, gullible, hot tempered, and the butt of every conceivable kind of trick. (If you read last week's post on Arlecchino, you can guess who will be instigating most of these tricks....) Pantalone is usually the father to one of the lovers, and driven to arrange a suitable marriage for his offspring. In this play, it is the sweet and simpering Clarice.  Pantalone is presented either as a widower or bachelor, and despite his age, makes numerous passes at the women within the commedia world, though he is always rejected.  Despite his sinister and often inhumane treatment towards his fellows, Pantalone is perceived to be a pivotal part of commedia. His importance is represented in almost every commedia production; and following tradition, we place him at the beginning of our show to introduce the comedy.

• Pantalone's costume consists of tight red trousers or stockings, a long, loose black cloak with free-flowing sleeves, a brimless red hat and slippers.  He usually wears a giant codpiece to advertise his virility (which everyone knows to be long gone) and wears a pouch of money on his belt that usually hangs suggestively next to his cod piece
• Pantalone's mask has a long, hooked nose and small, beady eyes and a moustache, which is part of his mask
• This character moves very stiffly and walks hunched over to show how old he is and possibly to also better protect his money pouch.  His knees are bent and his feet shuffle quickly along the ground.  His hands and arms also move quickly, often gesturing wildly.  At bad news (usually that he has lost a coin), Pantalone is prone to heart attacks, falling onto his back with legs up like a beetle, stuck there until someone comes by to help him.

Here's more from the hilarious Lucero Less, who plays Pantalone in our production.



Opening night for Servant of Two Masters is quickly approaching, Friday, February 25!  (Which non-so-accidentally also happens to be World Commedia Day.)  We are READY to have you rolling in our aisles. Visit the Piccolo Theatre Website for information on how to get your tickets today.

And check back here for the next installment of Piccolo's Commedia Character Shorts, to get some thoughtful info one set of our Lovers.

Commedia Character Shorts are here! (Chapter 1)

Arlecchino!

Arlecchino is always a Commedia favorite.  Traditionally he is a servant (zanni) to Pantalone, Capitano, or Dottore, and is generally accepted as the most intelligent of the zanni characters.  He tries to trick his masters, but usually fails.   In Goldoni's Servant of Two Masters his name has been changed to Truffaldino (roughly, "Little Trickster") and much of the action exists because he tries to outwith everyone and serve two masters at the same time. Food holds amazing power over all of the zanni, but particularly this chap, so you can easily understand that two masters means twice the pay which means....twice the food!  He is also very much in love with Smeraldina, one of the other zanni in the play.  Will he win her over AND get permission to marry her AND serve two masters?  You'll have to see Truffaldino live and in action!

Arlecchino, PiccoloTeatro di Milano

• Arlecchino's costume is a rather tight jacket and pants, with bright multi-colored patches, usually in diamond shapes.  They can be in a symmetrical or asymmetrical pattern. 
• Arlecchino wears a belt and a slapstick.  (This is where "slapstick comedy," comes from).  A slapstick is made out of two thin strips of wood separated at the handle by a half an inch or so.  When the slapstick hits an object, the two strips of wood slap against each other  to make a loud sound, without hurting the person being hit. 
• Arlecchino's mask consists of a black half-mask and a black chin-piece. The mask's forehead is strongly lined with wrinkles, accentuating a slightly quizzical arch to the eye brows. The eye holes are arranged in such away as to convey and expression of astonishment, sensuality and craftiness. There is traditionally a tumor like growth billowing out under one eye along with a wart. The eyebrows and beard are bushy consisting of stiff bristles. This ensemble of characteristics portrays something savage and fiendish, with cat like qualities. The mask is such that it opens many possibilities to character and action.The nose is not very big, since he is very intelligent.
• Arlecchino is always moving, in acrobatic and agile ways.  Therefore, the actor who plays him should be very flexible.  His knees are always bent, as if he could spring up at any minute into a leap or acrobatic move.  Like Zanni, Arlecchino is led by his nose--his head follows an object, and then his body goes after it.

Here's more from the amazing Omen Sade, who plays Truffaldino in our production.

Check back here regularly over the next few weeks and we'll guide you through the basics of traditional Commedia characters and give you an insider's look at our production of Servant of Two Masters.  Want more information on Commedia?  Visit the Piccolo Theatre Website or email info@piccolotheatre.com with specific questions.

Giants of Commedia and Commedia Character Shorts

Did you see the video of our first rehearsal?  Looks like fun, doesn't it? We have so much more in store for you here- more sneak peaks into our rehearsal process, photos, fun historical facts, and our upcoming "Commedia Character Shorts" series.  Once a week, we'll post some info about the characters in Servant of Two Masters alongside a candid video interview with the actor who will be performing that role. Whether you are a Commedia dell'Arte junkie, or have never heard about it before reading this post, you're going to love these! Keep your eyes peeled for the first installment about Truffaldino!

In the meantime, we thought we'd pass along this great blog to you:  Clownlink 
A lot of the blog topics are right up Piccolo's alley, and the author is doing some special posts in honor of World Commedia Day (which happens to fall on opening night of Servant!). Check it out to find some info on Giorgio Strehler, Dario Fo, Flaminio Scala, Carlo Mazzone-Clamenti, and much more!

Carlo Goldoni and Commedia dell'Arte

Carlo Goldoni

Carlo Goldoni's famous Servant of Two Masters was written in 1743 near the end of Commedia's golden age. This masterpiece obviously owes its success to the multitude of traditional and beloved Commedia elements he utilized: characters, situations, masks, etc., but the manner in how Servant is performed is slightly different than what was considered "Commedia" at the time in 1743.

Goldoni had conceived a new type of theatre, a new way of acting, and a new way of perceiving the role of the playwright. Up until this point, Commedia actors were used to creating plays themselves using a great deal of improvisation. The subject was chosen (usually love intrigues, clever ways of getting money and outsmarting simpletons), the characters conceived and named, their relations to one another determined, and the situations clearly outlined, all beforehand. The material was then divided into scenes and lazzi, and the situations were made clear. When this general outline was deemed satisfactory, the actors were then given the freedom to heighten, vary, and embellish their parts as their genius might suggest. But with the Servant of Two Masters script, Goldoni took the reins and wrote everything down in a script. Earth shaking? It was in at the time in Italy.

So what does that mean for Piccolo's performance of the piece? Will this "scripted" play make us LAUGH??? What about the hilarious, creative brand of Piccolo-style improvisation and general goofiness? Aaaaaaahhhhhhhh!!!!

Have no fear! Artistic Director John Szostek has already thought this through.

"There is a trap in attempting to present The Servant of Two Masters and that is how to allow the comic instincts of skilled actors to overcome a tendency to be a servant to the text. It has been said that commedia is the riskiest form of comedy. True, but worth the risk. When the moment of inspired improvisation happens it is like a lightning strike and time seems to be in suspension while a wonder takes place. Fortunately Goldoni’s text is so perfectly balanced and adhering to pure form that it allows us to perform under, through, over and behind the text." -John Szostek

See the show yourself (opens February 25!) and the Piccolo Ensemble will treat you to a Commedia experience that will make you wonder why this conversation about Goldoni's script seemed like such a big deal.

For some more info on Goldoni, you may enjoy this video fro our namesake and inspiration, Piccolo Teatro di Milano (particularly the section right around the 4:00 mark). English speakers, don't fear, the narrator speaks your language. Plus there is also some great material on everyone's favorite character, Arlecchino. Enjoy!

Arlecchino servitore di due padroni | Giorgio Strehler e Ferruccio Soleri

Thanks to our dramaturg, Claudia Zanna for her research and Artistic Director John Szostek for his quote!

The Servant of Two Masters

"Most people are looking for a job...he has TWO!"

The cast of Piccolo Theatre's Servant of Two Masters has been in rehearsal for a little over a week now, and we thought you might like to meet the cast and crew of our upcoming Commedia production! Check out this great footage from our very first rehearsal last week.



Who is this "Federigo Rasponi of Turin", and why is everyone so interested in him, particularly since reports are that he was recently killed in a duel? Stay tuned....or better yet, buy a ticket to the show!

Servant of Two Masters

By Carlo Goldoni

Translated by Tom Simpson

Directed by John Szostek

Previews: Feb 18-20, 2011

Opening: Feb 25 – April 9, 2011

Days & Times: Fri at 8pm, Sat at 8pm, Sun at 3pm

Location: Evanston Arts Depot, 600 Main St., Evanston

Tickets: $25 for Adults, $20 for Seniors, $15 for Students, call for group rates.

Call for reservations 847-424-0089 or order online www.piccolotheatre.com

We have so much more to share about this show- about our brand new masks (made by our friend Antonio Fava), the music we've chosen, the crazy characters, the history of the show as it relates to the art of Commedia AND the role it plays in Piccolo's beginnings. You're going to love it! Stay tuned for more sneak peaks into the rehearsal process.

Oh, and did I mention that we have new ensemble members!! A belly laugh and hearty congratulations to costume designer Joshua D. Allard, lighting designer Eric Branson, and actors Nicole Keating, Jessica Puller, Vic May, Andrew Roberts, and Laura "Berner" Taylor.

Thanks to our good friend Rachel for the video! You'll be seeing a lot more work from her in upcoming blog posts.