Manoel Felciano, Reg Rogers, and Jennifer Sánchez play a trio of swindlers in Red Bull revival of Ben Jonson’s The Alchemist (photo by Carol Rosegg)
THE ALCHEMIST
New World Stages
340 West Fiftieth St. between Ninth & Tenth Aves.
Wednesday – Monday through December 19, $70
Available for streaming January 12-26
www.redbulltheater.com
newworldstages.com
Red Bull Theater was one of the most active companies during the pandemic, presenting livestreamed reunion readings of previous productions, the online interview series RemarkaBULL Podversations, and deep explorations into Othello and Pericles. So it’s disappointing that its return to live, in-person theater is an overbaked version of Ben Jonson’s 1610 Jacobean farce, The Alchemist.
Adapted by Jeffrey Hatcher and directed by Jesse Berger — the same team that gave us the superb 2017 revival of Nikolai Gogol’s The Government Inspector — The Alchemist is a hot mess, a frantic, unrelenting satire laden with anachronistic references and modern speech that bury what Samuel Taylor Coleridge famously referred to as one of the “three most perfect plots ever planned.” (The other two, in his opinion, were Sophocles’s Oedipus Rex and Henry Fielding’s Tom Jones.)
The tale is set in 1606 in the Lovewit mansion in London as plague rips through the land; the wealthy master has left for the countryside, reminding us that the rich haven’t changed much, considering their response to the current coronavirus pandemic. A voiceover announces at the start, “Some wear masks, just like you do, that cover the nose and mouth and comply with CDC guidelines at all times, including during the show, except while actively drinking at your seat, so if you’re going to drink, drink actively.”
Lovewit’s manservant, the rogue Face (Manoel Felciano), has teamed up with the charlatan alchemist Subtle (Reg Rogers) and their bawdy colleague, Dol Common (Jennifer Sánchez), to con members of the local community out of their money. When the trio learns that Lovewit is unexpectedly returning in two hours, they ramp up their schemes as they attempt to defraud the tobacconist Abel Drugger (Nathan Christopher), the law clerk Dapper (Carson Elrod), the deacon Ananias (Stephen DeRosa), and the knight Sir Epicure Mammon (Jacob Ming-Trent) and his butler from Brooklyn, the surly skeptic known as Surly (Louis Mustillo).
Red Bull returns to in-person theater with The Alchemist at New World Stages (photo by Carol Rosegg)
Subtle might think he is in charge, but Face is quick to remind him, “Recollect, sir: you were not long past known to all the neighborhood as that scurvy beetle who nothing did but loiter at the corner in moldy rags so thin scarce covered they your buttocks. I took pity on you, gave you roof and a bed, replaced your tatters with well-cut cloth, and introduced you to that household item called the bathing tub.” Subtle responds, “Recollect, sir: you were not long past that lowly servant who nothing did but sit your master’s house with no one to converse with save your brooms and dustpans. Twas I took pity on you, raised you up to your potential, taught you to present yourself so convincingly as a captain with a beard so nautical it could fool a blind man who’s never been to sea. Twas I conceived the scheme, tis I should take the largest share!” Meanwhile, Dol points out about their Venture Tripartite, “Well, if we three do not this treasure equal share, you two shall not share mine.”
Despite already having a heavy chest brimming with ill-gotten gains and Lovewit’s arrival fast approaching, Face and Subtle can’t control their greed when they learn of a wealthy widow, Dame Pliant (Teresa Avia Lim), who has come to town with her protective brother, Kastril (Allen Tedder). So they set out to scam her as well, agreeing not to tell Dol. Their nefarious plans play out in real time, a grandfather clock ticking away throughout the nearly two-hour show as things grow more and more frenetic and overwrought.
Red Bull and founding artistic director Berger know their way around classic works, as evidenced by their stellar adaptations of John Ford’s 1630s drama, ‘Tis Pity She’s a Whore, Richard Brinsley Sheridan’s 1777 comedy of manners, The School for Scandal, and Jonson’s 1606 English Renaissance satire, Volpone. But they try too hard to make The Alchemist relevant to this moment in time, sacrificing story for slapstick. Alexis Distler’s two-floor set is filled with doorways, a staircase, and surprise entryways, but the timing of the various door slams is too often slightly off. At one point Rogers ad-libbed about having to run up and down the stairs again, and we feel his pain. As always with Red Bull, the costumes (by Tilly Grimes) are wonderfully extravagant, as is Tommy Kurzman’s wig and makeup design.
The show suffers from being in the 199-seat Stage 5 at New World Stages, which is too small and intimate for such a broadly played farce; you’re liable to get whiplash from swiveling your head back and forth and up and down so much, particularly as Subtle changes from “a mystic newly come from Rotterdam” to “a fortune teller late of Portugal” to “a Swedish hypnotist learned in financial planning.” Perhaps it will be easier to take when it is available for streaming January 12-26.
In a program note, Hatcher wryly admits, “Of course, I did screw around with the plot. Ours is a slimmed down version of the play, with fewer characters and one setting instead of four. So, apart from dumbing down the highbrow jokes, ruining the perfect plot, tossing in anachronisms, and adding a song very much like one sung by Shirley Bassey in 1964, the play is pretty much your grandmother’s The Alchemist.” The talented cast, led by Obie winner Rogers, does its best with this dumbing down, seeming to enjoy themselves immensely, as did much of the audience the night I went. I wish I felt the same.
