Review: The Three Musketeers by The Archive Theater Company
by Michael Meigs
Archive Theatre's The Three Musketeers is a gem within a jewel within a brilliant display case within a treasure cave—and a rollicking, romping, stomping swirl of bravado and romance. Company artistic director and Jill-of-all-trades Jennifer Rose Davis adapted Alexandre Dumas's 1844 adventure novel, produced, directed, led the stitching team that produced the dazzling costumes designed by Cecelia Gay, and even both plays and sings in the small court orchestra accompanying the piece with delicate 17th-century tunes.
The gem is Davis's script, vigorous and often slightly comic, telling the story with the directness and bold plot lines of a Classic Comic Book. It's far different from her translation of Rostand's dreamily poetic Cyrano de Bergerac, staged by the same company and same director in the same locale six years ago (click for CTXLT review). The jewel is her imaginative direction. The metaphorical display case is furnished by the plethora of exquisitely constructed costumes that evoke both the decadence of the ancien regime and the rough lives of the common people. And the Scottish Rite Theatre, built in 1871, is the treasure cave; Archive takes full advantage of the theatre's extensive collection of beautifully rendered scenic backdrops to whisk spectators from the royal court to the gardens to the seaside to public houses frequented by the rowdy trio of musketeers.
Who doesn't know the story? Athos, Porthos, and Aramis (played here by veteran thespians Bruce Gutierrez, Phillip Smith, and Tyler Jones) might be called the first non-Greek superheros in Western literature. Proud, gifted swordsmen, and inseparably "all for one and one for all," Dumas's creations have inspired untold generations of youngsters. Replayed by Dumas in two subsequent novels, they've also figured in films, plays, cartoons, and video games (and don't forget that Classic Comic Book edition, the first of the series). Our protagonist is young d'Artagnan, whose father, once a musketeer in the king's service, retired to Gascony. Diego Arroyo Aceves arrives in Paris with a paternal recommendation to the head of the musketeer corps (Robert Stevens). In the course of his Paris wanderings, d'Artagnan manages to offend each of the three musketeers in turn and accepts their challenges to duels (forbidden by law) to be set at one-hour intervals.
Aceves has the bouncy enthusiasm of a puppy and a confidence equal to that of any of the musketeers. He and they become quickly involved in a mad plot to save the honor of Queen Anne (Claire Shelton), married off at a young age to King Louis XIII (Maxwell Hanesworth), who rightly suspects that England's former ambassador the Duke of Buckingham (Tyler Jones doubling in ginger beard and aristocratic garb) has designs upon her. Got all that? It's much more obvious onstage or in the comic book.
_adj.jpg)
Mix in d'Artagnan's sudden infatuation with the Queen's seamstress Constance Bonacieux (the sweetly demure Gabrielle Smith), and the story is off to the races. Or, to be precise, a race from Paris to London and back to recoup jewels that Queen Anne foolishly gave to Buckingham.
Seventeen actors' names appear in the cast list, playing twenty-nine named roles. The doubling is clever and reinforced by the gorgeous array of costumes fashioned by a team of eight stitchers. These garments are intricately, beautifully stitched and thoroughly convincing in the close-up space of this enchanted theatre space.
Part of the spectators' game is trying to track cast members through their speaking roles and their ensemble appearances. Those many wigs by Robin McShaffry make quick IDs almost impossible. Who's that arrogant squad leader for Cardinal Richelieu's enforcers? How many people are in this cast, anyway?
The swashbuckling designed and taught by Tobie Minor is complex, swift, and well executed, often on a stage full of thrashing combat. Justin Smith as Rochefort, the Cardinal's heavy, engaged d'Artagnan at the French port in a combat so intense I found myself tightening my diaphragm as if expecting a blow at any moment.
Some of the action played behind the audience is uncomfortable to follow. Shipboard action during stormy seas is enacted on a steep staircase at the audience's right. Later, the musketeers stand in the back of the center aisle to debate how to confront pacing guards securing a gate to the royal palace; even while twisting completely around, we were unable to see them because they were unlit and we were dazzled by spots aimed at the stage. Once the fighting erupts, it's led by Cardinal Richelieu's chief swordsman Jussac (played by Jonathan Vinyard -- who also portrayed the cardinal).
Special applause goes to Chris Humphrey as Constance's venial, comic husband and a series of other cameos. Penny-pinching, inquisitive, corruptible old Bonacieux offers Constance plenty of reasons to be swept away by Aceves' sparkling eyes and unfeigned devotion. After all, what's life without a bit of romance in it?
Opening weekend audiences were vocal and involved. They loved the flash, the romance, and the melodrama. As well as the fact that our boy Diego Arroyo Aceves as spunky d'Artagnan made the grade as a new musketeer and came off an all around winner.
The Three Musketeers
by Alexandre Dumas, adapted by Jennifer Rose Davis
The Archive Theater Company
August 22 - September 22, 2024
August 22 - September 22, 2024
Thursdays - Saturdays at 8 p.m., Sundays at 5 p.m.
Tickets $10 for children, $15 for students, $25 seniors, $30 general admission, $40 table seating
