Colin Gregory’s production of Mirandolina, an adaptation of Carlo Goldoni’s La Locanderia (“The Mistress at the Inn”) set in the 1960s, was a marvellous addition to this year’s Fringe. One hopes that theatres will host it for many more post-Fringe productions because it provides a glorious 90 minutes of theatre.
The story follows femme fatale innkeeper Mirandolina. She is famous for entrancing every wealthy male guest into falling head-over-heels in love with her and profiting off their expensive gifts, only to ultimately disavow them of any romantic hopes. That is until an infamous misogynist called Ripafratta boards up at the inn: a wealthy gent famous for “never having fallen in love” (or so he claims). Mirandolina sees this as the perfect challenge. If she can win his affections, she can win any. Shenanigans ensue.
Gregory is a director with a canny eye for detail. You’ll realise the significance of some elements long after the show is finished. From the 1960s posters on the back wall advertising Goldoni’s other plays (in a charming Easter Egg to the source material) to a dance number towards the end which was taken directly from the choreography of the period, he earns the otherwise overused label: “authentic”. Simultaneously, his playful theatrical style makes every minute of this play a delight – and no better does he do this than in his handling of the cast.
Every cast member rose to the challenge brilliantly. A particular standout was Guido, Ripafratta’s servant played by the handsome young Ted Fiore-Burt. The actor is in his early teens; his charisma and charm are enviable for such young talent. He flies in the face of anyone who believes child actors can’t steal the show.
Yet this was a show where everyone was brilliant. Under Gregory’s hand, the cast comes together as a cohesive, delightfully caricatured and lively ensemble which works perfectly. Samantha Charles is hilarious as Mirandolina, particularly in her coincidentally Miranda-esque one-on-one confidences with the audience. Guyene Muneesamy is also highly entertaining as Ripafratta. All the supporting cast – including many of Mirandolina’s battered conquests, and two lady guests purporting to be higher-class than they are just to amuse themselves – are excellent too.
As said, may this show continue beyond the Fringe! It more than deserves it.
Image “File:Alessandro Longhi – Ritratto di Carlo Goldoni (c 1757) Ca Goldoni Venezia – Close-up.jpg” by Alessandro Longhi is licensed under CC BY-SA 4.0.