Barret O’Brien is a charming master manipulator in the title role of the comedy at the Camelot Theatre

By Lucie K. Scheuer for Ashland.news

“Scapino!” playing at the Camelot Theatre through Oct. 6, is a little bit crazy, lots of fun and molto divertente! To be honest, along with the strolling musicians, a kiss of color inspired by the Tyrrhenian Sea and well-timed comic effects, this reviewer can’t think of another play in which a running gag and a sausage figured so prominently or worked as well. It is zany served up Italian-style. 

Based on 17th century French writer Molière’s comedy “Les Fourberies de Scapin,” “Scapino!” is a farce, which Molière based on the Italian commedia dell’arte style, which is essentially physical comedy on steroids. The story was then adapted in 1974 for the New York stage by Jim Dale and Frank Dunlop. Finding its new look at the Camelot in 2024, it has retained its original charm but has stepped up its appeal with an imaginatively designed set, a company of well-cast actors and some well-executed physical comedy.

An appealing rascal

This Scapino, he’s a rogue, a rascal and a master manipulator. He’s quite lovable and all wrapped up in the person of Barret O’Brien, an actor whose adeptness, spryness and agility imbue the jocular character with great appeal. He is just the Scapino the play calls for. His work is endearing and clever, with a Robin Williams energy and a Danny Kaye kind of dexterity.

“Scapino!” takes place on a plaza next to a dock in present-day Naples, although the costumes reflect clothes that might have been worn in the 1970s.

Young lovers, angry parents

Ottavio, played by Ryder Kole Emerson and Leandro, played by Ryan Lane, are friends whose parents have been traveling and have left their sons in the care of their servants — Scapino and Sylvestro. Ottavio has fallen in love with and married, the feisty Giacinta. Leandro wants to pay off the contract of a woman, Zerbinetta, he has fallen for who is traveling with a musical troupe. The parents of both young men will not approve of this. The plot is a little hard to follow but suffice it to say two young men love two young women against their parents’ wishes. Scarpino is the one who can and will straighten the whole mess out, as soon as he’s done contributing to it.

Once again we have Elizabeth Gudenrath playing a hysterical, inconsolable character, Ottavio’s mother, Argante. (Originally Argante was played as Ottavio’s father.) Gudenrath recently played Veta, Harvey’s excitable sister in “Harvey.” In this play, Gudenrath, as Argante, goes off the rails when she discovers her son has married without her permission. Gudenrath as Ms. Argante is once again popping the lid off her pizza sauce performance. There’s enough drama queen here to go around for a few plays.

Supporting cast clicks

It has been a joy to watch actor Chuck Isen grow the last couple of seasons, from his rather subdued, miscast performance as the Wizard in “The Wizard of Oz,” to a genuinely concerned Dr. Chumley in “Harvey,” to his role in “Scapino!” where we get to see the full extent of his talent and comic timing as Mr. Geronte.

Haley Jane Forsyth as Giacinta, Ottavio’s secret wife, and Juliana Wheeler as Zerbinetta, Leandro’s lady, are both vibrant in their roles. It is easy to see why the two young men enlisting Scapino’s help have fallen for them.

Mason Rudesheim is especially good as Sylvestro, a servant, friend and co-conspirator with Scapino. The two play really well off each other.

Camelazzis is the company that has been formed around this production, and it is evident everyone in it gives their very best.

The Camelot, transformed

Scenic designer Nathan Ynacay and lighting designer Kate Landon have devised a perfect marriage of sorts between the stage sets and lighting, transforming the theater.

They have made use of the entire theater, not just the stage, to create the impression you are sitting in the middle of a plaza.

Audience involvement

Alex Boyles, the director, has blended his vision with Ynacay and Landon to make the audience a part of the show. There’s a certain kind of magic that comes from artistic collaboration that can produce this kind of experience.

Costume designer Andrew Beyer’s choices for some of the main characters are not quite as interesting as they might be. Wheeler as Zerbinetta seemed out of place in bell bottoms. Gudenrath’s suit appeared to be too big for her.

Musical director Chris Williams did a fine job of bringing the musical troupe and their familiar Italian sing-alongs together.

The play is essentially in two acts, with the first not quite as strong as the second. The plot is a bit confusing but, as is often the case with entertainments of this sort, the plot takes second place to its presentation.

If you would love being serenaded by a catchy Tarantella tune in 6/8 time to the words of “minestrone, macaroni, ravioli … la la la” accompanied by an accordion and a troupe of colorful musicians, while a rascal of dubious character swings, runs and finds his way into your heart, well — you know where to go.

Reach Ashland-based writer Lucie K. Scheuer at LucieScheuer19@gmail.com.