The Beaux' Stratagem

A comedic, restoration-style play where there’s love, a con and holy men who profit from the poor, MU’s production of “The Beaux’ Stratagem” by George Farquhar lets the audience escape for a couple hours into the hilarious side of the 1700’s.  Performed at the Rhynsburger Theater, this brightly colored and opulent world in jolly, old England gives the audience a sidesplitting view of what it’s like to get caught up in your own con. The talented actors, the beautifully designed costumes and the extravagant costumes made “The Beaux’ Strategem” one of the most interesting and colorful plays this semester.

“The Beaux’ Stratagem” takes place in England during the 1700’s. The two main characters, Jack Archer (Zach Huels) and Tom Aimwell (Dylan Bainter) play two con men whose plan to get rich includes seducing and marrying young, wealthy women, then leaving with their money. The very charming Archer moves with the grace of a dancer and speaks with a devilish glint in his eye. For During one of his earliest monologues, he tells the audience of his plan to seduce a wealthy Dorinda (Courtney F. Wagner). The grace with which he walks and the smirk he has on his face as he speaks gives the audience the idea of a jungle cat spotting its prey. But then he changes from a jungle cat to a tame kitten in the end. When he breaks into Mrs. Kate Sullen’s (Lynett Vallejo) room to profess his love, he gets on his knees to beg her to be his (and also to protect her from the highwaymen).  And when he is speaking with her, his tone becomes gentle and soft.

No actor could pull off such a great show without the help of director Suzanne Burgoyne. All of her characters seemed to have a natural way of moving and speaking throughout the play that really seemed to have her touch upon it. Such as Sullen (Jackson Harned). Upon his last entrance, where he attempts to drunkenly blow his wig off his face with no mind to the other characters, made the audience roar with laughter. His unique comic timing and outlandish movements could only have been done with help from Burgoyne.

Last, but certainly not least, was the design of the play. From the opulent, rich costumes to the massive, detailed set, the design of this play portrayed the country life of 1700’s England very well. The costumes, designed by Kerri S. Packard, were some of the more brightly colored costumes I’ve seen this semester. Take Mrs. Katee Sullen’s beautiful gown. A hunter green gown with diamond patterns and a yellow underskirt to highlight the green, this dress was a masterpiece. White lace trimmings could be seen flowing from the end of her sleeves, which perfectly matched the white pearl choker and earrings. And anytime she walked about the stage, the gown seemed to swish quietly with her.

The design of the set and lights were also wonderful to see. The set designed by Brad M. Carlson and lighting designed by David Schneider, the set consisted of two major scenes, Lady Bountiful’s (Alison Kertz) estate and Boniface’s inn. For Boniface’s inn, a dirty, seemingly poor interior was the theme. With dark wood paneling for floors, off-white walls (that seemed to have gotten that color because of lack of cleaning) and the bare minimum furniture gave a very old-world vibe that fit the time of the play. For Lady Bountiful’s estate, a grand, opulent set took the stage. A golden chandelier was flown in from above, and dark red walls with large furnishings and vanity mirrors placed in key locations definitely gave the impression of old money. Adding with the colored spotlights that would pop up at key times, such as when the actors delivered monologues to the audience, a golden beam took stage. And for moments when we had love at first sight, a pinkish beam became the only light source.

I would highly recommend seeing this play. While most think of the 1700’s as a time of disease (typhus and smallpox especially) and beggars, this sidesplitting comedy shows a lighter side of English life with its quick wit and wonderful characters.