Masquerading as someone else to gull your lover is a venerable theatrical trope — one that surfaces in The Guardsman, now being revived by Blue Bridge Repertory Theatre.
Masquerading as someone else to gull your lover is a venerable theatrical trope. Shakespeare loved it , as did Oscar Wilde and multitudinous others.
Never heard of Molnar? For many the name will be unfamiliar, although he enjoyed wide popularity in his day. The Guardsman was a Broadway hit in 1924 starring Alfred Lunt and Lynne Fontaine. Molnar’s also known for his play Liliom, later reinvented as the musical Carousel. This kind of fidelity-testing deception has a familiar ring. Happily Molnar, an admirer of Wilde and George Bernard Shaw, had the wit to add a layer of psychological complexity to his tale. We laugh at the broad humour… we also leave the theatre wondering if it’s possible to truly know one’s significant other. And perhaps people in general.
The show is peppered with comic shtick. A maid grunts with Lucille Ball zeal while lugging heavy trunks. When Helene receives roses she lifts them over her head like a matador. The most inspired physical sequence is when a bickering Victor and Helene engage in a back-and-forth tango that perfectly mirrors the fractiousness of their relationship.
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