Gianni Schicchi is a farce based on Puccini’s opera of the same name. Beloved Buoso Donati is in his deathbed, yet his family is more concerned with what he has bequeathed to them in his will. When they learn he has left everything to a local monastery, the plotting and scheming begins. The cleverest man in town, a poor farmer, Gianni Schicchi is called to help them figure out how they can keep Donati’s riches.

Gianni Schicchi started out and ended in the Eighth Circle of Dante’s Inferno, which really felt like an indulgence as the entire play was simply a retelling of the story of why Gianni Schicchi will be damned. But at the very close of the show a surprise occurred that made the “indulgence” totally worth it, plus it helped underscore the personality of Gianni Schicchi. The story of Gianni Schicchi took place entirely within the bedchamber of Buoso Donati after Donati’s death. The cast struggled to maintain its energy; at times in the first act it dragged considerably, although the energy was higher and more consistent in the second act as the family members were coming to Gianni Schicchi to convince him to give them everything.

John Morogiello portrayed Gianni Schicchi and was also the playwright. Morogiello played Schicchi as wise and crafty, yet also with compassion as he learned of the plight of the Donati family. He was a con man, yet wasn’t slick, and his love for his daughter Lauretta (Rachel Meloan) showed whenever she was with him.

Donati’s family was greedy and full of problems. Terence Aselford was outstanding as the drunkard elderly Betto. Jim Gagne as the intellectual Gherado was no match for the passion his wife Nella (Suzie Mellring) shared with everyone else it seemed. Scott Courlander as Marco was the jock. Laura Scott was convincing as the frustrated matriarch Zita Bellini.

There were several bits in the show that were quite suggestive, so this is not a good show to take young children to. I also wondered if the body of Buoso Donati could have been played by a real person, but that may have brought up too many similarities to Weekend at Bernie’s. Overall, Gianni Schicchi was a pleasurable show.

Photo Gallery

Photos provided by Georgetown Theatre Company.

Cast

• Dante Alighieri: Kenny Littlejohn
• Virgil: Carl Brandt Long
• Gianni Schicchi: John Morogiello
• Rinuccio Donati: TD Smith
• Gherado Bellini: Jim Gagne
• Zita Bellini: Laura J. Scott
• Nella Bellini: Suzie Mellring
• Betto De Signa: Terence Aselford
• Marco Donati: Scott Courlander
• Biago: Jonathan Lee Taylor
• Lauretta Schicchi: Rachel Meloan
• Dr. Spinelloccio: Jonathan Lee Taylor
• Ser Amantio: Jonathan Lee Taylor
• Cobbler: Carl Brandt Long
• Dyer: Kenny Littlejohn

Crew

• Director: Catherine Aselford
• Assistant Director: Emily Ann Jablonski
• Costume Design: Elizabeth Kemmerer
• Sound designer: Terence Aselford
• Light Designer: Kevin Shortall
• Fight Director: Carl Brandt Long
• Stage Manager: Adam Adkins
• Assistant Stage Manager: Alexis Graves
• Executive Avatar: J. Thaddeus Burian

Disclaimer: Georgetown Theatre Company provided a complimentary media ticket to ShowBizRadio for this review.

Question: How do you condense a full-length novel into a scant one-hour performance for four actors? Answer: You’re the impressively talented Bette Cassatt, and you’re “stubbornly determined” to learn the French necessary to translate the novel yourself.

The Three Musketeers, a new adaptation of the Alexandre Dumas novel, translated and adapted by Ms. Cassatt, provides ample humor, daring swordplay, pathos, intrigue and just a bit of a history lesson as well, all in a terrific, family-oriented and fast-paced production. The play features Ms. Cassatt (D’Artagnan), John Morogiello (Porthos), Ian Blackwell Rogers (Athos) and Erin Steenson (Aramis), 25 characters, 70 costume changes and plenty of swordfights. Each actor brings considerable ability to the many and varied roles portrayed within the span of the production, in a dizzying but never truly frenetic or over the top parade through the events of the story. (So complex is the character swap, it’s impossible to highlight any one role over another!)

Ms. Cassatt, a highly accomplished stage swordfighter, is also director and fight choreographer for this production. Kelly O’Connor, Fine Array and Ms. Cassat have provided the costumes and Chris Mindel rounds the crew out as Sound Designer.

The performance space is an empty storefront with a most convenient balcony and lower level, providing virtually all the set required for telling the story. Devoid of theatrical lighting, traditional seating or even a stage, the cast makes full use of the main floor as well as the balcony, and relies on costumes and narration to set the scene and characters. The performance is steps away from the audience and there is no attempt whatsoever to maintain the fourth wall, bringing everyone watching into the action. Carpet squares are provided for the younger set, as are crayons and coloring sheets.

Of course, it’s not possible to include all the action and intrigue in a novel that’s well over 700 pages, by best estimate, so the cast is quick to point out that the original book is readily available.

This is a fine ensemble piece, with all four actors truly acting “all for one and one for all,” proving that you can produce great theatre anywhere.

The Three Musketeers is a family-friendly show, at a price the whole family can afford, definitely worth braving the trip to the Shops at Georgetown Park on a weekend.

Photographs

Ian Blackwell Rogers, John Morogiello, Bette Cassatt and Erin Steenson as Athos, Porthos, D’Artagnan and Aramis	Bette Cassatt and Ian Blackwell Rogers
The Musketeers (Ian Blackwell Rogers, John Morogiello, Bette Cassatt and Erin Steenson) suspect a trap	John Morogiello, Bette Cassatt, Erin Steenson and Ian Blackwell Rogers

Playwright/Director’s Notes

At age 18, D’Artagnan set off to seek adventure and battle the enemies of France. At age 18, I too, found myself in the midst of a battle – only mine wasn’t filled with adventure and swordplay – mine was simply cancer. It was while I was recovering from this unexpected setback that I decided to pursue my long time interest in swordplay – something I had been drawn to since at least the 2nd grade when I saw The Pirates of Penzance.

It was during my stage combat training that I was first introduced to The Three Musketeers. I felt truly inspired by Athos’ greatness of soul, Porthos’ enthusiasm, Aramis’ elegance, and D’Artagnan’s fierce determination. Though it seemed as if I was just tilting at windmills, I decided to translate and adapt the story for stage – with the hope that someday my fight group may get to do it. However, one fact stood in my way: I didn’t know a lick of French. With stubborn determination, I began by looking up every single word in the French/English dictionary until I became more and more proficient in reading French. The result was a full-length play of epic proportions requiring a very large cast.

Later, I was asked by a dear friend of mine (and the artistic director at a theatre at the time) if I could write a version of The Three Musketeers for as few actors as possible – six at most. I thought, “There is no possible way to do this and keep the integrity of the story.” But I couldn’t leave a challenge unanswered, so I went home and wrote a show for four actors – two men and two women. To my surprise, it seemed to work out quite well. The division of characters between the four actors even spoke volumes about the main musketeers.

No matter the translation or adaptation, there seems to be something so enduring about Dumas’ tale. Who can resist such a story of friendship and adventure? So when Catherine Aselford asked me to do this show and to play D’Artagnan, I was delighted at the prospect of getting to play the young hero again. I have been very lucky to get to work with such an amazing cast. I feel as fortunate as D’Artagnan to have found three new friends I admire as much as the young Gascon admired Athos, Porthos, and Aramis.

Cast

• D’Artagnan: Bette Cassatt
• Porthos: John Morogiello
• Athos: Ian Blackwell Rogers
• Aramis: Erin Steenson

Crew:

• Director/Fight Direction: Bette Cassatt
• Costumes: Kelly O’Connor, Fine Array, and Bette Cassatt
• Sound Design: Chris Mindel