'Rivals another winner at MCT'

Frank: Déjà vu describes the feeling I had upon arriving at Saturday night's performance of Richard Sheridan's "The Rivals" by Murphys Creek Theatre at Stevenot Winery. It was not only that the set was the same as the one used for "Taming of the Shrew," but last week's frog was also still in full croak, so to speak. After doing its best to drown out the actors during the first half of the performance, the frog was "fished" from the pond at intermission by some of the younger audience and cast members.

Grace: That's an outdoor setting for you. The question is, did the cast and crew of "The Rivals" live up to the high comedic standards they set in "Taming?"

Frank: In my book they came pretty close. The audience seemed to think so, too, judging from the spontaneous applause throughout the evening. The audience, however, was small indeed. Such a fine local asset needs more enthusiastic support from Sierra foothill residents, I'd say. Back to the presentation: the "Shrew" set (complete with the frog pond) served "The Rivals" well. The opening tableau was a showcase for Laura Dyken's eye-catching colorful costumes, which added authenticity and their own touch of drama to this period play.

Grace: Before we get into discussing the productions, some background on Richard Brinsley Sheridan would be appropriate, I think, especially since I've been told that he's one of my ancestors.

Frank: Oh, no, here she goes!

Grace: Ahem. I am proud to say that he was a poet, playwright, lawyer, member of parliament, and supported - against popular opinion and government policy - of both the French and American revolutions. In other words, a typical Irishman. "The Rivals," his first play, was not his best - that honor belongs to "School for Scandal." "The Rivals" opened at Covent Garden in 1717, flopped, and was soon closed. It was revised and restaged, and went on to become England's most popular comedy of the time. Like "Shrew," it is a tale of several suitors vying for the hand of a beautiful young lady, with various obstacles raised by parents and guardians, complete with identity deceptions and confuse the issue.

Frank: Now on to other considerations, the cast for instance. David Abad as Acres and Jeremy Forbing as Faulkland hit their stride in these roles. Abad's Acres was exuberantly energetic, and Forbing's Faulkland displayed hilarious degrees of petulance and childishness.. In other words, he was irritating to just the right degree. And as Sir Anthony Absolute, Jack Souza left little room for improvement. When not adopting the pose of a painting commissioned by an aristocrat of the time, he used his cane to great distinction. It certainly came, er, to life when he reflected upon the attributes of Miss Lydia Languish. Todd Thomas' Captain Jack Absolute was a model of military stiffness and honor in his flashy red coat with its high collar.

Grace: As to the female cast members, Lydia Languish's vaporish despondency seemed to come naturally to Jacqueline Hillsman, who delighted the audience by swirling her gossamer costume to enhance her swooning scene near the end of the play. As Julia, Kathleen Ennis brought an aura of dutiful resignation to her character - a much-needed foil to the giddiness displayed by the rest of the dramatis personae. Liz Tachella, as Lucy in this play and Biondello in "Shrew," was convincing in each of these vastly differing roles. Now to . . .

Frank: Sheila Doyle as the famous Mrs. Malaprop, Lydia Languish's eccentric aunt. What a role for Sheila! From her costume to her mannerisms (the sign of the cross at distressful moments, for example) to her imperious grande dame voice, she was the Mrs. Malaprop.

Grace: And her diction! We could hear each and every "misused word perfectly pronounced," which is pretty close to the definition of "malapropism" in my trusty dictionary.

Frank: No argument from me on that. Alas, the production lapsed in one or two areas. The character of Sir Lucius O'Trigger, played by Brain Harrower, somehow didn't live up its full comedic potential.

Grace: Yes, and the presentation showed signs of fatigue at the end, which, as I said about "Shrew," could be the playwright's doing.

Frank: Nonetheless, this hysterical induction was a perpendicular joy, something to withhold and depreciate, as Mrs. Malaprop might way. In other words, another beguiling evening of entertainment under the stars. We're giving it three and half thumbs up, since we think it doesn't quite rival "Shrew." I hope we have the opportunity to review something bad soon, so I can crank up by brutal side!