One Man, Two Guvnors

By Richard Bean

Sydney Theatre Company 

“I can do it, as long as I don’t get confused. But I do get confused easily” 

                                                                                                    - Francis Henshall

One Man, Two Guvnors is Richard Bean’s strikingly clever adaptation of Carlo Goldoni’s popular 1743 Commedia dell’ Arte play, the Servant of Two Masters. Recycling Goldoni plays is hardy revolutionary  – even the playwright himself drew extensively on material from the large Commedia repertoire of the 16th Century.  This classic form’s influence can still be felt strongly in today’s comedic characters and its appeal is universal. There is something both captivating and comforting about watching stock characters follow a predictable plot line, complete with spurned lovers, mistaken identity and bawdy slapstick antics. Though be warned, timid patrons would be advised to seek security in the Circle if they hope to avoid the inevitable audience participation.

Following sold out West End and Broadway seasons, Guvnors’ Sydney Theatre run marks the second last stop in a very successful world tour. This brazenly British play offers its Australian audiences the full glory of British Farce, and the National Theatre of Britain’s command over the form is impressive. The Brits love this kind of humour and we either love (or detest) them for it. Tour-revival director, Adam Penford, was responsible for tweaking the script to suit an international audience, and his somewhat controversial decision to retain much of the, far from subtle but immensely witty, British repartee for the Australian run has been an undeniable success. This brand of British humour may not be everybody’s cup of tea, but this production woos even the most reluctant of audience members with its irresistible energy, astonishing clowning and extraordinary ensemble cast.

Bean has relocated Goldoni’s 18th Century Italian comedy to 1960’s Brighton; transporting the audience into designer, Mark Thompson’s, cartoonishly colourful cut-out world. A lively Rockabilly band greets the audience with pre-show entertainment that sets the scene for the high energy, comic antics to follow. Four dapper, pompadoured, young men (who seem capable of playing every instrument known to man), soon have the entire auditorium tapping their toes to their bouncy sing-alongs. Singing beautiful harmonies, reminiscent of the period, the group of charming chaps welcome us into the world of the play, and later mark the scene transitions, obviously enjoying the play as much as we do.

The almost tangible sense of anticipation as the lights dim for the start of Act 1 is, unfortunately, met with somewhat of an anticlimax as the Australian audience tentatively titter at the unfamiliar and, sometimes laboured drawing room Farce, in which important plot points are established at a rate of knots. However, this uncertainty is short lived, with the entrance of the classic Zanni character, Francis, who quickly enlivens the whole cast and wins over the entire crowd. Francis (Owain Arthur) plays the incorrigible, irresistible and shockingly insolent servant of two guvnors. Somehow he manages to convince the audience and all those around him to submit wholeheartedly to his hilarious and often torturous pranks. Despite knowing we should be outraged, we laugh uproariously at his preposterous comic routines. Arthur’s stamina is extraordinary as the rotund star of the show skips and hops around the stage, never missing a beat and maintaining his intense physical energy for the entirety of this deceptively lengthy play. Arthur’s performance alone would be worth the hefty price of admission but an incredible supporting cast, who equal his comic timing and commitment, makes it worth every penny.

This terrific troupe includes Francis’ demanding Guvnors (the talented Edward Bennett and Amy Booth-Steel) who keep Francis frantic as he attempts to juggle their complicated and often contradictory orders. The fact that the two guvnors, unbeknownst to all but the audience, are in fact romantically involved, only adds to the impossibility and hilarity of this convoluted plot. Mark Jackson as an ancient waiter provides endless entertainment as he lurches and teeters around the stage, repeatedly splattering platters of soup and tumbling down the steep stairs. The amazing sense of ensemble inherent in this production is unparalleled: the cast and crew work together with an innate understanding for each other’s rhythms and style, frequently switching roles and ad-libbing swift changes. The impromptu antics don’t stop with the cast, as the audience can be called upon at any moment and find themselves as ‘volunteers’ (or victims) of the plot’s twists and turns.

Director Nicholas Hytner has successfully opened a window into some of the most beguiling elements of British humour, those that we are naturally drawn to. This Company truly appreciates and revels in the joy of traditional British comedy and Bean has skillfully amalgamated this with the universally irresistible world of Commedia. It’s a rare delight for me to leave a theatre glowing with satisfaction, but Bean’s One Man, Two Guvnors leaves me with a smile that lasts long into the night.

The Details: One Man, Two Guvnors plays until May 11th 
Tickets Prices: From $22
Bookings: http://www.sydneytheatre.com.au/what's-on