An Italian Straw Hat

By MARKLAND TAYLOR

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MIDDLETOWN, CONN. A National Theater of the Deaf presentation of a farce in two acts by Eugene Labiche and Marc Michel, translated from the French by Niki Wenger. Adapted and directed by Kenneth Albers.
 
Fadinard ... Robert DeMayo
Felix ... Brian K. Jennings Helene ... Adrienne Alitowski
Nonancourt ... Joseph Sarpy
Bobin ... Bruno Druchen
Vezinet ... Andy Vasnick
Emile/Achille ... Anthony Natale
Annette/
The Baroness ... Norma Bowers
Virginie ... Sofya Gollan
Dr. Paign ... Frank Dattolo
Clara ... Cheri Lundquist
Tardiveau ... Iosif Schneiderman
Maestro ... Ira Mitchell
 

Galvanized by a sure directorial style and pace, and reveling in the joy of comic theater, the National Theater of the Deaf's 1994-95 touring adaptation of Eugene Labiche and Marc Michel's 1851 farce "Le Chapeau de paille d'Italie," is well on its way to fulfilling its engaging potential; a week of additional performances should do the trick. Even at its press opening, only its third public airing, it was already one of the 27-year-old NTD's more assured productions.

The French play has been adroitly adapted, including subtly incorporated contemporary allusions, and directed by Kenneth Albers, who has moved its action forward to turn-of-the-century Paris. This allows set designer Victor Becker to erect a glittering 18-foot Eiffel Tower stage-center which not only dominates the visual production but also houses actor/musician Ira Mitchell, whose one-man orchestra is an integral part of the highly physical carryings-on.

For this production the NTD uses 10 deaf actors and three speaking actors, Brian K. Jennings, Adrienne Alitowski and Mitchell, the trio supplying the aural voices of all the characters in a variety of accents. Both Jennings and Mitchell work particularly hard and effectively, Jennings dashing hither and yon ceaselessly speaking and hand-signing, Mitchell adding his spoken voice to his hilarious pastiche score performed on a variety of electronic and percussion instruments.

Odd noises, such as hooting horns simulating hoots of laughter, blend with bits and pieces of well-known music and composers, from Beethoven's 5th and "Bolero" to Offenbach and "Peer Gynt." Throughout, Mitchell's score adds a sizable dimension to the production.

Robert DeMayo's Fadinard is at the production's heart, a young man about to be married whose plans are totally disrupted when his horse eats the hat of a straying married woman. Within minutes almost everyone in Paris is chasing almost every one else. There's even a spoof of modern art when DeMayo's put-upon bridegroom is mistaken for a visiting Italian artist. King Kong climbs the Eiffel Tower for good measure.

All the deaf actors sign their performances with flamboyant theatricality. DeMayo is particularly physical, adding style and good humor to his non-stop shenanigans. And if not all the others match his skill, none falters badly in the headlong rush.

Singularly amusing is Iosif Schneiderman as a tiny 70-year-old hat-shop messenger who is a volunteer policeman on the side. When he rushes around the stage he looks like a wind-up toy, and he even brings finesse to a running gag about needing to go to the bathroom. Anthony Natale is doubly effective as both a womanizing soldier and a precious fop ogling our hero.

As the infuriated bride and all the female voices, Alitowski explodes splendidly at the play's end after two acts of being pushed and pulled all over the place while constantly being jabbed by a pin or nail in her highly elaborate wedding gown. Charles Berliner's costumes and hats poke flounced and beribonned fun at turn-of-the-century styles, the wigs and makeup adding to the jest.

Farce isn't easy for speaking or non-speaking actors, but this NTD cast and production are firmly on the right high-speed track. (It's scheduled to tour the country through April, interrupted by a March 6-12 engagement in Luxembourg; negotiations are also under way for performances in Holland and Germany in May and June.)

Set, Victor Becker; costumes, Charles Berliner; lighting, Frederick C. Geffken; musical composition, Ira Mitchell; production stage manager, Kathleen J. Parsons; sign consultant, Camille L. Jeter; company manager/interpreter, Jon W. Nelson; tour director, Roddy O'Connor. Artistic directors, Camille L. Jeter, Will Rhys; executive director, Charles Roper. Opened, reviewed Sept. 20, 1994, at Wesleyan University's Center for the Arts; 400 seats; $ 15 top. Running time: 2 HOURS.