Published: Oct. 13, 2016

Ā鶹Ćā·Ń°ęĻĀŌŲBoulderā€™s 2016-17 theatre season continues with a heartwarming, hilarious production of ā€œ,ā€ a classic Italian commedia dellā€™arte by 18th-century playwright Carlo Goldoni. Performances of the play, directed by Ā鶹Ćā·Ń°ęĻĀŌŲAssociate Professor Tamara Meneghini, take place Oct. 19-23 in CUā€™s Loft Theatre.Classic Italian masks

Through physical comedy, masks and period-appropriate music, ā€œThe Servant of Two Mastersā€ tells the story of the servant Truffaldino, who wreaks havoc when he attends to two different masters at the same time. With the electric energy and extreme farce that only commedia can supply, Truffaldino pushes the limits to appease his masters and his growling stomach, falling in love all the while.

ā€œItā€™s really just a classic, fun comedy,ā€ Meneghini says. ā€œThe students and I leave rehearsal every night laughing and smiling.ā€

Meneghini describes the playā€™s humor as the kind of good, clean fun people of all ages can enjoy.Ģż

ā€œEveryone in the audience will be able to identify with the characters on stage largely because Goldoni did such a good job of creating such believable characters dealing with rather unbelievable situations,ā€ Meneghini says. ā€œHe gives us all permission to laugh at ourselves.ā€

If the good-hearted humor doesnā€™t hook you, Meneghini is certain the centuries-old, rarely seen performance technique will. In true commedia dellā€™arte style, four of the characters wear colorful masks and have to rely on body movements to express emotions and tell the story. The result, Meneghini says, is captivating.

ā€œThis style is one of the hardest things an actor can possibly do,ā€ she says. ā€œIt is difficult for even the best actors to pull off. I think itā€™s incredibly valuable for these acting students to learn how their body serves them in creating a character.ā€

Meneghini says sheā€™s perhaps most excited about the role music plays in this production. The comedy called for two distinctive types of live performance: In one scene, characters with more status enjoy a baroque minuet, while in another, two servants join together to sing a rollicking folk song from Italyā€™s Bergamo region. The play also features 18th-century Italian arias, a Venetian folk dance (called the furlana) and a guest appearance from guitarist Rick Pruitt, known all over the West for his exceptional musicianship.

ā€œBetween the music, the movement and the masks, I think itā€™s going to be a ton of fun,ā€ Meneghini says. ā€œThereā€™s not enough joy in the world, and I want to change that.ā€