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THEATERMANIA.COM

In this boisterous and philosophical comedy, Jacques and his master bounce across France getting into trouble (mostly of a sexual nature). In the midst of all the hijinks, observations are made regarding the nature of love between men and women, gender politics, the class system, the immorality of bad poets, the triumph of gentle wisdom over cruel cleverness and an ultimate truth-that we just don't know which way we're going. Warm, witty, wise and naughty, JACQUES AND HIS MASTER is superbly entertaining.

- jam
©2000 THEATERMANIA.COM

LA WEEKLY *Recommended

Leave it to Milan Kundera to seamlessly meld sexual farce with social commentary. In this 1981 three-act "homage to Diderot" (here translated by the estimable polymath Simon Callow), Kundera follows the exploits of a sassy servant named Jacques (Phil LaMarr) and his kindly, uncertain master (Patrick Towne). Against a backdrop that's part "Canterbury Tales," part Pirandello, Jacques and His Master spin tales of sex defined as much by cuckoldry and revenge as by lust and wantonness. Occasionally, they break the fourth wall, journeying through France toward an unknown goal, but mostly they just interrupt each other. Along the way, they meet a loquacious innkeeper (Shelley Wenk), who hijacks the storytelling for a while, but soon the principals regain their footing and carry on. Director John Sylvain has wisely not sought too much deep meaning in this entertaining if meandering work, and his skillful staging, peppered with enough physical humor to leaven Kundera/Callow's highbrow musings, gives the show needed zip. As Jacques, LaMarr brings a range of voices and facial expressions to his likable role. Towne offers less variety, but his mincing, lascivious portrayal works perfectly. Wenk's innkeeper is in the Ethel Merman mold, and the rest of the supporting cast make similarly favorable impressions. Sylvain himself designed the aptly plain set. Sacred Fools Theater, 660 N.

- David Mermelstein
©2000 LA WEEKLY