The Heir Apparent is David Ives' translation and rejiggering of Jean-Francois Regnard's 1706 comedy La Legataire universal. Eraste (Scott McDonald) is a young gentlemen with nothing but debts and a desire to marry the beautiful Isabelle (Jeanitta Perkins), whose ferociously mercenary mother Argante (Margeau Steinau) has one demand before she'll allow them to wed: Eraste must be the sole inheritor of his perpetually ailing uncle Geronte's vast fortune. No money, no honey.
From that simple set-up Northcott and her winning ensemble spin screams of laughter. Ives' script does some of the work, which retains Regnard's rhyming couplet structure but gilds the verse with modern references, scatological humor and the piquant spice of a little class warfare. For despite their sparkling conversation and the opulence of their lifestyle (hats off to set designer Chuck Winning and scenic painter Shannon Piwowarczyk for that, along with costume designer Michelle Siler), Eraste, Geronte, Isabelle and even the grasping Argante are all dumber than dirt. The servants Crispin (Isaiah DiLorenzo) and Lisette (Britteny Henry), however, are positively Machiavellian.
Eraste, ineffective at everything, then bungles his own suicide at this news (watch Argante encourage him politely as he fumbles with the rope). Crispin and Lisette, however, convince him they can right this wrong. The duo use their tactical acumen not out of kindness, but because they wish to marry — help him, help themselves. And so they set into motion a series of plans that require a body double, some light cross-dressing and the duping of Geronte's tiny, persnickety lawyer Scruple (Anthony Winninger, who does yeoman's work from a very cramped position).
What becomes clear during all this is that Crispin and Lisette are our real heroes. DiLorenzo throws himself into the role of the canny Crispin, and he wins laughs by floridly scheming aloud, as well as the way that he retreats and faces the front door, half-heartedly shaking a duster, when the rich folk discuss something. Henry is similarly excellent, sparring with Geronte with all the disdain of a mother who suspects a child of malingering, and propping up her beau with well-timed kisses when things proceed according to plan. When things go wrong — and they go wrong at a rate of three-to-one — she's the voice of reason. But with this much money at stake, there's not much call for that.
McDonald's Eraste is a nincompoop by comparison, with the skittery mannerisms and blank gaze of a befuddled Michael Cera. Perkins matches him well as Lisette, whose charms are strictly ornamental. The pair get a roar of laughter when, at the point that a new plan is suddenly needed, their determined thinking expressions fade to disinterest, confusion and then vacant stares. What beautiful, beautiful dummies.
Signorino positively slays as Geronte, shouting about his bowel movements, bellowing his belief that Isabelle will succor him (he makes it sound so damn dirty) and wreaking constant havoc despite being on death's door. Steinau's role as Argante is smaller, but she makes the most of it. Resplendent in a glittering emerald dress and matching jewels, she wafts through rooms hurling barbs at the servants and patronizing poor dumb Eraste at every turn. It's a genuine pleasure when she gets her happy ending.
But then everybody gets a happy ending here. The Heir Apparent is a farce: The harsh realities of the world hold no sway in this dream world. Instead everybody goes home smiling, laughing with delight at the way it all turned out. Especially the audience.
- PHOTO BY JOHN LAMB
- Jeanitta Perkins portrays the beautiful Isabelle, center, with Shane Signorino and Britteny Henry.