Review: ONE MAN, TWO GUVNERS at Town Players Of New Canaan

There’s something wonderfully nuts about The Town Players of New Canaan taking on One Man, Two Guvnors, Richard Bean’s 2011 hit based on The Servant of Two Masters by Carlo Goldoni. The original, written in 1743, is a classic commedia dell’arte comedy built on disguises, twins, and glorious chaos. Bean cranks it up, moves it to 1963 Brighton, adds British flair, audience participation, and a hero whose main motivation is finding a sandwich. It’s a lot.

The plot is intentionally complicated: gangsters, upper-class twits, a woman disguised as her murdered twin brother, lovers on the run, envelopes of cash, and a perpetually starving servant, Francis Henshall, trying to keep two bosses from discovering each other. Once the show finds its groove, it reminds you why the London and Broadway productions—starring James Corden—were hailed as the funniest farce since "Noises Off."

The first act’s famous dinner sequence, where Francis must serve both “guvnors” in separate rooms while secretly inhaling most of the food himself, is a beautifully choreographed mess. Soup sloshes, doors slam, and the serving cart becomes a battlefield. It’s classic, escalating chaos.

Director Nancy L. Meyer clearly has an encyclopedia of farcical tricks at her disposal. The result is charming, fun, and well paced. The clever scene changes—where the cast dances through transitions to Beatles and other British Invasion music—keep the energy high and have the audience laughing and bopping along.

Mat Young throws himself into Francis with abandon. His face is endlessly elastic, snapping from exasperated grimaces to eager, hopeful smiles, and his physical comedy is sharp and wonderfully controlled. His audience interactions feel spontaneous, and when he drags unsuspecting patrons onstage to help carry luggage or guard soup, the whole room perks up.

The ensemble commits fully to the commedia style—big, bold, and unapologetically cartoonish. Liam McGrath has a field day as Alan, a preening would-be actor striking dramatic poses like he’s auditioning for his own reflection. His betrothed Pauline, nicely played by Kim Wood, is delightfully ditzy and lovesick. Martha Hegley is a standout as Dolly, the buxom bookkeeper who is far smarter than anyone gives her credit for and easily the sharpest person in the room. Claire Kenny is terrific as Rachel Crabbe, cross-dressing in pursuit of her lover Stanley, played with flair by Tom Cleary. Grady Dennis is a riot as Alfie, the old waiter whose newfangled pacemaker sparks outlandish, scene-stealing physical stunts. Timothy Huber, Annalisa DiNucci, Jonathan Hall, Eric James Dino, and Samantha Brown round out the cavalcade of caricatures with gusto, embracing the show’s heightened style without tipping into self-indulgence.

Fight choreography by Michael Serpe adds an extra kick of comic spice.

Design-wise, the show stays bright and slightly cartoonish, with a clear 1960’s setting and a strong vaudeville flavor. Vibrant period costumes and wigs, along with well-curated props, transport us back in time. Kudos to costume designer Zoe Guaman, wig designer Peggi De La Cruz, master set builder Joel Reynolds, and props manager Renata Montalto, along with their many backstage helpers. Lighting design by Mat Young adds polish and punch. Special recognition also goes to stage manager Neil Flores and his crew, who keep the mayhem running seamlessly.

One Man, Two Guvnors delivers exactly what it promises: big laughs rooted in very old comedy. Twins mistaken for one another. A woman masquerading as a man. People lying badly and panicking spectacularly. It worked 270 years ago, and it still works now. It won’t change your worldview. It won’t challenge your intellect. But when the doors are slamming, the soup is flying, and Francis is one missed meal away from collapse, it absolutely tickles the funny bone.