Review: ‘The Servant of Two Masters,’ and His Misfortunes

Despite the curmudgeonly review by Mr. Isherwood, we attended the Saturday matinee of "The Servant" and found the theater experience to be totally satisfying and amusing. Steven Epp himself is worth the trip, but the rest of the cast (particularly Allan Gilmore as Panalone) were a riot and the staging by Christopher Bayes was fresh and invigorating. The play flows well and the final scene makes one wish that there were 5 more.

I loved everything about this production... I often disagree with Mr. Isherwood and this is definitely one of those times... and this time I am shocked at this review. This production is beautifully performed, directed, and has a spirit of generosity and fun which the theatre and our country desperately needs right now. RUN to go see this production as it is rare to see such an ensemble playing so well together. Steven Epp is, as always, brilliant and as is the rest of the cast. Christopher Bayes and company thank you for putting your sweat and hearts into this for our absolute glee. If you're depressed after this election season like I am... this play will definitely help. "When is the play gonna be over?" the player asks... if it's as good as this production, I hope never!

I was so glad that I did not see this review until intermission the night I saw this play. Otherwise I might not have gone, and would have missed out on a truly entertaining evening. We were among most of the audience who found the play hysterically funny, and I think it was a brilliant production--

In some ways, I’m happy it didn’t suit Mr. Isherwood’s taste because it is proof that this production is shaking things up, challenging our idea of what theatre is. Theatre SHOULD be present, and political, and relevant, and bawdy, and uncomfortable; that’s what makes theatre so powerful (and exciting and entertaining)!

Mr. Isherwood seems to have issues with the conventions of commedia dell’arte and blames it on Bayes’ direction and the ensemble’s performances. References to pop culture and contemporary society, bawdy humor, over-acting, etc., are all what make up commedia dell’arte. These bold elements makes the theatre alive. Why would you want it as “safe” as Mr. Trump says? It felt like Mr. Isherwood went to a rock concert and complained that it was too loud and that they didn’t play Rachmaninoff.

There is no question that this a superb production with stellar performances and beautiful, intelligent costume, lighting, set, and music designs. I cannot recommend this production enough. When is the next time you’ll get see a commedia show produced on Broadway or Off-Broadway? Hopefully soon with the success of this production!

I thought, "Hey, I never agree with Isherwood. I'm gonna see this!"

But he's right. HOWEVER, the Liam Craig and Steven Epp were good.
But then they would leave the stage. And it got annoying and boring and bad.
Save your money for the next time Bill Irwin comes to town. He is the Dom Perignon of the genre.
This is Prosecco.

I think that the reviews written so far by everyone who has commented have the same, consistent message. Mr. Isherwood has clearly not done justice to this play with his review.

I disagree with this review. I was one of the many people in stitches from laughing. I am also not an expert on commedia dell'arte and didn't know what to expect and was glad I went in with an open mind as at points I was in tears and can't remember when I last laughed like that.
The buffoonery and melodrama worked well and the actors all gelled together with great chemistry.
I would think it just didn't click for Mr. Isherwood as I can imagine there would be other spectators that aren't prepared to submit themselves to the sheer childlike yet crass humour I experienced.
Give this play a chance and you may be more than pleasantly surprised.

I had a great time. Lots of laughs. I wish I could remember all the jokes. It was just what I needed. I had already bought tickets when this review appeared. I shouldn't have worried. I am SO glad we went.

Mr. Isherwood, this production is not a period piece or a historical artifact. It's a living, breathing play rooted in commedia de'arte origins, with the broad comedy and the stock characters associated with that genre. This production embraces as well the genre's subversive political commentary, reflecting our current situation as, in its own time, commedia commented on contemporary politics. The acting, music, set, blocking, and multi-layered conception of this production are enjoyable and moving. Perhaps the preconceptions you brought to the show interfered with your pleasure.

I'm scratching my head, wondering if Mr. Isherwood showed up at the wrong theater that night. His review bears no resemblance to my experience. The production is searingly intelligent, hilarious, and barrels of fun. Ignore the man behind the curtain!

I enjoyed this show more than anything I have seen in a long time. It took me completely by surprise. I really laughed. It was what theatre should always be -- immediate and unpredictable. And it was touching and sweet. I feel sorry for Mr Isherwood that he cannot give himself to the joy that underlies this production.

Let us believe Mr. Isherwood was having a bad week, like much of New York City post-election. Fortunately for New York City (and even sadpants Mr. Isherwood), this show aims to be the patronus that disperses the apocalyptic gloom for an evening - it is hilarious throughout, and in regular spurts is gorgeous, ecstatic, big-hearted, and sweet, and teeters on the edge of edginess without being mean-spirited or cruel. Steven Epp is a virtuoso, the whole cast is excellent, and together with Chris Bayes, they have created the exact antidote for this particular November of the soul. May it run for four years! But not eight. Oh please god, not eight.

Like many others have commented, I am shaking my head in wonder at the review that Charles Isherwood gave "The Servant of Two Masters." I am left to wonder if he has had any experience seeing other works in this genre. The review resonates what seems to be a lack of understanding of the very basic elements that define the form. In my experience, under Christopher Bayes' brilliant direction, the cast delights, astounds, shocks, prods and delivers a beautiful, bawdy, surprisingly soulful musical romp. From the first few moments, I was transfixed in wonder and transported into a theatrical, magical world that managed to straddle the past and the present with amazing dexterity and finesse. There were countless astonishing moments that will stay with me for a long time. There was much food for thought laced into the comedic story that is age-old: this play is perfectly timed for right now in this political climate and the state of our nation. The simple story being explored on-stage is as relevant now as it ever was. I found there to be tremendous humanity within this particular Commedia exploration. I felt such joy at the end, weeping at the final outcome for an anti-hero that had somehow stolen my heart as I laughed through the story. It gives me hope for our own beleaguered masses just trying to feed their bellies and be allowed to love who they want to. Bravo to the director and the entire production team and cast.

I saw the first night of previews and there was a standing O so I don't know what play Isherwood saw. I've been attending the theater for 40 years and have also seen Bill Irwin's "Scapin" at the ACT in SF and James Corden's "One Man, Two Guvnors" at the Adelphi in London. Those were like 1980's sitcoms compared to this. If you come to the theater to experience the heightened reality of a truly unique experience you have to see this play. I hope they extend the run.

I loved this show. I found 2 tickets it on a discount list and on a whim I went to see it on a weeknight with a friend. Not only was it sidesplittingly funny, but it was also uplifting and beautifully done. Afterwards, I went home and bought tickets (at full price) so I could take my whole family.

I am a seasoned theater-goer and very, very cheap. I rarely bite the bullet and pay full price for anything but as my dear departed grandmother used to say "I know quality when I see it". Apparently, Mr. Isherwood does not.

I find it shocking that Charles Isherwood was assigned to review TFANA's Servant of Two Masters. I fault the arts editor for this extremely unfortunate assignment. Isherwood, who hyperlinks a Commedia Dell'arte definition in his review, apparently did not take the time to understand this form of theatre. If he had, he would have understood that "a steady stream of interpolated gags referring to, most prominently, the recent election" is Commedia Dell'arte in its truest form. "Frequent vulgarities and a distasteful scatological joke" are, once again, absolutely true to Commedia. The "over-the-top-and-then-some style" is exactly what is called for in this art form. Shame on you, sir, for not doing your research and for disdaining one of the purest, most hilarious performances I have seen in many years. I want to remind Mr. Isherwood that the NYT reviewed this very same production extremely favorably several years ago. This same production has played to raves throughout the country. Mr. Isherwood sat among audience members who were weeping with laughter and sprang to their feet at the end of the performance. I am astonished at the irresponsibility of this review and deeply saddened by the impact that an incorrect review has on a production. Please, dear readers, go see this show and enjoy yourselves.

I couldn't disagree more with Mr. Isherwood's review. My husband and I loved the show and belly laughed throughout. All of the people around us felt the same way and had only great things to say as we talked during the intermission. The people around us were happy, smiling and laughing as they left the theater. The play is silly and joyful and was exactly what I needed last weekend. Go see it!

All due respect to Mr. Isherwood, but I completely disagree. The NY Times often gets reviews wrong because a critic is having a bad night. This seems to be the case here. Go see the show, and decide for yourself!

Absolutely disagree with this review. Mr Isherwood's critique reveals his lack of humour and his ignorance about Commedia. Do yourself a favour and watch the show!

Hmmm. I must disagree with Mr. Isherwood's review of this production. The Servant of Two Masters had me in tears, laughing! I fell in love with every character and I could relate on a deeply human level to every character's situation. I was rooting for every character to win! Many hilarious, vulgar and beautifully poetic moments- the perfect balance. I absolutely adored this production and MUST see it again.

This production is FANTASTIC and this review could not be more wrong-headed. My partner and I saw it last week and it was so much fun: so smart and so stupid all at once! It was a much-needed ray of light after an incredibly dark couple of weeks. The generosity and virtuosity of the entire cast is thrilling, and Mr. Epp gives one of the most inspired performances I've seen in a long time. I feel bad for Mr. Isherwood, who clearly had the misfortune of being in a room full of people appreciating a joke he wouldn't or couldn't (he says himself people were "in stitches"), but don't let his experience dissuade you! There is so much JOY in this production from the first moment to the last. and in times like these, embracing joy can be a revolutionary act. Please disregard this review and give Servant a chance. It's worth your time and it may end up being just what you need!

Please don't let Mr. Isherwood's abysmal time at Servant of Two Masters dissuade you. GO and SEE this finely crafted theatrical masterpiece. I laughed. I cried. I sat with my mouth agape at the bold hilarity and vulgarity. I left the theater full of inspiration and hope; the ferocious generosity of the artists trickling through my veins.

I was reminded during a Servant of Two Masters that I can be stuck between the proverbial rock and a hard place and still greet the world with eternal optimism and dare to step into the vulnerability that comes with not knowing who to serve when. In my daily grind as long-time NYC resident it is too easy to fall into the "rat race" and be overtaken by my own sense of achievement and productivity - taking the time to sit in my joy during this virtuosic performance was exactly what I, and frankly the world, needs to start doing more of. I was not uproariously laughing out loud, as most of the audience was indeed doing. Instead I found myself smiling inwardly at the child who lives inside of me who has been waiting a long time for my attention. Servant of Two Masters is an artful production that carries us away to a world of simple play. Yet, the production is anything but simple. The actors carried me away to a place in my soul that has been largely ignored and almost forgotten; their ensemble work strikes a balance between being superbly orchestrated/choreographed and spontaneous. Chris Bayes' ability to capture and name this tension reminds all of us that we are in the room together. We (actors and audience) can co-exist in an uncontrived and organic symbiosis that is rooted in epic love and eternal laughter. Go! You will enjoy it and your soul will thank you!

The night I saw Servant of Two Masters, the audience was having a great time: laughing, getting into the amazing performances and spirit of the piece, etc...that is, everyone except the man sitting a few seats away from me huffing and puffing, writing into a notepad, and generally sitting there contemptuous of everyone else's good time. This play is joyful! Do not listen to this review!! You will not get another chance to see a comedy this open, this heartfelt, and this funny in a long time. See it!

I HIGHLY recommend Servant of Two Masters to anyone that wants to live a little longer and float a little easier. I am surprised and saddened by Mr. Isherwood's review here. I could not disagree more. Not only were the performances virtuosic and relevant (bridging the divide between a classic text and the present day) but the humor was ridiculous, crackling and deeply intelligent at the same time. I was completely transported during the show and it was enlivening in a way that I think very little theatre is anymore. There was a healthy dose of irreverence but in the end I was left will a feeling of hope. These are dark times and this show is a beautiful balm for anyone who can make it. GO! If you like to laugh.

Wowee. This review is a farce. I was lucky enough to see this production last week, and it was so full of joy and fun. I hope this review doesn't kill the production or the enthusiasm of the actors, which was considerable. Also, NYTimes, please stop Isherwood from reviewing comedy. He doesn't get it.

I'd also vehemently disagree with this review-- this show (thankfully) doesn't fit in to the tried and typical mold of 'critically acclaimed' NYC theater, but it's silliness and irreverence are what make it a thoroughly enjoyable experience! I'm disappointed, although not surprised, that Mr. Isherwood didn't appreciate the production.

I totally disagree with Mr. Isherwood. I saw the performance on the post-election weekend. I had a good laugh with other fellow audience and didn't notice any negative reaction. People want to laugh at the hard reality! It's very difficult right now but skilled actors made it possible. The references to the election in the comedy seemed to me a right approach. How can we forget what's going on in the world even in a theatre? In fact, I felt like I could see how New Yorkers would deal with this reality from now on.

This is yet another instance of my shaking my head and wondering whether the reviewer and I saw the same play. This play is a farce and, as such, was played that way wonderfully, irreverently and to the hilt. Perhaps farces just aren't Mr. Isherwood's thing, but I haven't had this much fun at the theater since I don't know when! Mr. Isherwood is correct that the gags related to the election received a lot of laughter and during intermission I heard several people commiserate with each other that it was the first time they had really laughed since then. So, bravo to this production on that score, as well as many others. I hope people will do themselves a favor and ignore this curmudgeonly review and go see this play. If you don't, you'll be depriving yourself of a truly fun evening out.

If you don't enjoy or appreciate Commedia dell'arte do not see this show. If you want to escape for a few hours this romp may be just what you need. Steven Epp and Emily Young are exceptional.

I could not disagree more with Mr. Isherwood's response. The skilled and child-like play that these actors have the courage to share with their audiences is incredible. The only explanation why Mr. Isherwood would be put off by this show is that he did not come to play. It makes sense though, that someone whose job it is to be critical has such a hard time with genuine play. When the brilliantly dumb Truffaldino (Steve Epp) cracked jokes about the election, one could palpably hear the audience coping with deeply felt emotion through laughter. Mr. Isherwood doesn't enjoy this release because his critical mind does not allow itself to play.
This production is full of brilliant comedy. Just like many people's favorite SNL performances, these actors dare so boldly that their failures are often even funnier than their best gags. During the performance, an actor forced to turn upstage in order to hide that he was cracking up elicited sustained laughter. The amazing Alan Gilmore was able to keep the audience continually laughing for what felt like minutes with a single gag.
The critical mind needs to be in control to feel safe. We all possess the critical mind, and it takes great courage to surrender one's control and play. We all need to learn to give ourselves permission to play and let go for a while. "A Servant of Two Masters" offers this medicine in high dosage. So go see it, and if you come ready to "let the little one drive" you'll be very glad you did!

"Servant..." was WONDERFUL: lively, energetic, hilarious, fresh, innovative, and beautifully acted and directed -- another winner from TFANA. Isherwood's review couldn't be more off-base. I go to the theater about once a week, sometimes more, and I certainly don't like everything I see, so I've got a well-informed perspective. Do yourself a favor: IGNORE this silly review and go see the show!

This week, Servant of Two Masters at Theatre for A New Audience; directed by Christopher Bayes has lifted my spirits anew. This closed off review further proves that EVEN LIBERAL news sources can suppress experimentation and freedom of expression, while reinforcing big-business, bigoted, hierarchical and dated ideals. Commedia (& all classic works) have dated & semi-relatable story lines. To say they continue to be popular works because of the writing is a complete disregard of changes in culture since those times that these works were written (not to mention the contemporary interpretations of many amazing artists!).
To praise "One Man. Two Guvnors" (the "sellout" bdway rewrite of Goldini's, Servant of Two Masters), over this physical, clown masterpiece, only supports the money-hungry, exclusive club that is midtown Broadway theater. If we continue to normalize the heteronormative, mysogonist themes in these classic works, we will only reinforce their most negative lessons. Bayes takes the form to new heights- using the classic tropes of Goldini's play only to highlight the idiocracy of their connotations. Not to mention an incredible attention to detail. During these rough times of disconnect and divide, the ability to laugh at oneself and ones peers continues to be the driving force behind survival (and a smiling survival, at that).

I saw this show at TFANA during previews and found it virtuosic. The specificity with which the actors played and the director crafted comedic moments was remarkable. Mr. Isherwood's review makes me question the permeability of his heart. If this theater curmudgeon doesn't deter you, you are sure to walk away from Servant of Two Masters relieved of your woes and delighted by life's little absurdities.

I saw this show during previews and had a wonderful refreshing theatrical experience. I love to laugh at funny things and there are a lot of funny things in this, (not so interesting) plot. That's why I think Chris is a genius. The plot has to take a back seat to the fun, silliness, and jokes or we would be stuck in a bad production of .... the cherry orchard. Theater for a new audience is the name of the theater and this production couldn't be more appropriate. I noticed that, in the world of tweets, 24/7 media, short attention spans, tv, flash flash boom boom, this show is perfect for my generation. Leave your judgmental hats at the door, open your heart, drop your jaw and turn off your inter critic and you'll enjoy the show as much as I did. Congrats to the talented cast!

Completely disagree. It was wonderful, and the overthetopness (I just made a word!) was always deft and controlled. So sad to see it be minimized in this way. I saw it a few days after the election and found it incredibly renewing and joyous. Just what we need right now.

Odd. A while back The Times reviewed what seems to be essentially the same production -- same director, same leading man -- and called it "rollicking," "miraculous," and "full of deft surprises." "This production revels in the transformative power of theater,” the Times reviewer said then.

I saw the production in DC in '12 and enjoyed it so much I returned twice! The show got more entertaining (and the audience more delighted) each time....

No no, I could not disagree more with Mr. Isherwood's assesment of the Goldini play. I spend my professional life performing 18 century art from the exqusite Rococo of Rameau to the ebullience of Vivaldi. In the performance i felt challenged by the virtuosity on stage to reconsider how we present the theatrical gestures in a Vivaldi concerto. These players were so adept at exaggeration, response as individuals and in groups and in crossing the barrier of stage to audience with allusions to our recent nightmare election. I wonder how a roving troup eased the cares of Italians suffering war and plague? I thnk with insane performances like the one I so admired and enjoyed at TFANA. I have encouraged all my musical colleagues to go, enjoy it and consider just how the dynamics on this stage might inform our next Four Seasons or concerto from L'estro armonco. .