Tuesday , May 21 2024
If anything can restore flagging spirits, it's a pair of bawdy Restoration comedies.

Theater Review (NYC): Restoration Comedy

Whether the bawdy comedies of the 17th century Restoration period really need updating for modern audiences is debatable, but the proof is in the uproarious pudding at The Flea, whose resident company, The Bats, agglomerates into a huge cast for Amy Freed’s Restoration Comedy through Dec. 31. Directed by Ed Sylvanus Iskandar with a flourish better described as beneath the rump than over the top, it makes inventive use of a small space with barely any stage furniture and the audience seated on three sides, the visual effects deriving almost entirely from Loren Shaw’s gorgeous costumes.


Whitney Conkling and Seth Moore in Restoration Comedy at The Flea. Photo by Aaron Zebrook


The show starts as a sort of cocktail party in which the cast engages audience members socially, a trick that carries the danger of discomfort but that here feels welcoming, setting off the boisterous mood of the performance to come. The play itself distills two comedies from the 1690s, Colley Cibber’s Love’s Last Shift and its fighting sequel, John Vanbrugh’s The Relapse, into two acts bookending a long intermission featuring charming musical acts. The whole three-plus hours go by surprisingly quickly.


James Fouhey and Stephen Stout in Restoration Comedy at The Flea. Photo by Aaron Zebrook


Cibber’s salacious libertine, Loveless (a jubilant James Fouhey), having just returned penurious from a long flight from debt, is fooled by his virtuous wife Amanda (a focused and absolutely delightful Allison Buck) and his buddy Worthy (the worthy Seth Moore) into falling for a mystery woman who is actually Amanda herself. In the sequel Loveless, now freshly devoted to his wife, is tempted by her fetching cousin (Rosa Gilmore, Cymbeline) to relapse, while Worthy reveals his long-suppressed love for Amanda. Need I mention that hijincks ensue? Meanwhile, swishy Lord Foppington (a flamboyantly mouthy Stephen Stout) is swindled by his ne’er-do-well brother and the latter’s scheming lover out of marrying the rustic and zaftig but rich nymphomaniac Hoyden (a triumphant Bonnie Milligan). There’s much chewing of the non-existent scenery, but taking the cake is the fabulous Whitney Conkling who gobbles it up with especially glorious abandon as the brazen Narcissa.

It all plays out in a rainbow of energetically choreographed dance numbers (by Will Taylor), mini-light shows, all manner of physical comedy, bed-hopping, pole dancing, a raft of winkingly winning performances by a juiced-up cast, and, as important as anything, those costumes, ranging from beautiful gowns to gold lamé short-shorts. But it would be all for nought without the foundation of Freed’s nimble script, which weaves florid period prose (and verse) and modern comic witticisms into a nearly seamless tapestry of debauchery and happy endings. Think you need to pay Broadway prices to see a frighteningly talented cast of dozens cavorting in period finery to a Scissor Sisters soundtrack? Think again. Feeling a touch of the holiday season blues? Here’s a fetching antidote.

About Jon Sobel

Jon Sobel is Publisher and Executive Editor of Blogcritics as well as lead editor of the Culture & Society section. As a writer he contributes most often to Music, where he covers classical music (old and new) and other genres, and Culture, where he reviews NYC theater. Through Oren Hope Marketing and Copywriting at http://www.orenhope.com/ you can hire him to write or edit whatever marketing or journalistic materials your heart desires. Jon also writes the blog Park Odyssey at http://parkodyssey.blogspot.com/ where he is on a mission to visit every park in New York City. He has also been a part-time working musician, including as lead singer, songwriter, and bass player for Whisperado.

Check Also

Helen. featuring Lanxing Fu, Grace Bernardo, and Melissa Coleman-Reed (photo by Maria Baranova)

Theater Review: ‘Helen.’ by Caitlin George – Getting Inside Helen of Troy

In this compelling new comedy Helen of Troy is not a victim, a pawn, or a plot device, but an icon of feminist fortitude.