Review: The Huntington's THE TRIUMPH OF LOVE is Just That

The first production of Pierre Carlet de Chamblain de Marivaux’s “The Triumph of Love” – performed in Paris in 1732 – was no box-office bonanza. Indeed, it closed after just six performances, with audiences apparently finding distasteful the story of a princess seducing not only a young man but an older man and an older woman as well.

Thankfully, times have changed and in recent years the romantic comedy has spawned more fruitful productions, including a 1997 Broadway musical adaptation and a 2001 feature film version. The thoroughly entertaining production of “The Triumph of Love” being presented at the Huntington Theatre, through April 6, is based on a 1992 adaptation and translation by Stephen Wadsworth for the McCarter Theatre in Princeton, N.J. – where Huntington artistic director Loretta Greco served as a staff producer on the production.

Now, Greco is revisiting the piece at the Huntington, in a mounting that captures everything good about the play and about Wadsworth’s clever and humorously piquant adaptation that may remind some of the resplendent period comedies and dramas, and Gilbert & Sullivan musicals, presented under the company’s first artistic director, Peter Altman.  

The plot centers on Spartan princess Léonide (Allison Altman). The princess knows her royal station was won by her father in a show of force, so when she falls in love with rightful prince, Agis (Rob Kellogg), she sets out to abdicate in his favor. For reasons never directly explained, Léonide figures the best way to execute her plan is to dress as a young gentleman and trick members of Agis’ house into falling in love with him/her.

At her side are her servant Corine (Avanthika Srinivasan) and a Harlequin (Vincent Randazzo) who eavesdrops on their plan. And there are the heads of the household where Agis lives, philosopher Hemocrate (Nael Nacer) and his sister Léontine (Marianna Bassham), both spun around by the romantic attention Léonide soon shows them.

Led by the delightful Altman, the cast is fresh and funny at every turn. Randazzo keeps his Harlequin light on the creepiness that often creeps into this kind of character, while Srinivasan winningly makes Corine far more than just a supporting player. Kellogg is earnest and upright as the appealing Agis. And Bassham and Nacer are two of Boston’s best actors, so it’s all the better when they share a stage.

Holding his own in such good company is Patrick Kerr. As Dimas the gardener, the Broadway and regional theater veteran is a riot – his deadpan delivery, complete with slack-jawed expression, landing like a dollop of fresh whipped cream atop a delicious ice cream sundae.

Scenic and Costume Designer Junghyun Georgia Lee has created a lush country-garden set that includes everything from a flower-draped swing and ready-to-be-picked lemon bushes to boughs in bloom, all of which complement the deeply-colored silk brocades of Lee’s wardrobe pieces. Christopher Akerlind’s lighting design is spot-on in setting the two acts’ various moods.

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