The Huntington Theatre opened “The Triumph of Love” March 7, directed by Loretta Greco. The comedy of errors was written by Pierre Carlet de Marivaux and first performed in France in 1732. For the Huntington’s production, the script was translated by Stephen Wadsworth.
The story follows Léonide (Allison Altman), a princess who has her eyes set on Agis (Rob B. Kellogg). However, due to a complicated family history, she has to disguise herself as a visiting nobleman named Focion and be accompanied by her close friend Corine (Avanthika Srinivasan) to stay at Agis’ residence. After running into Agis’ guardians, Hermocrate (Nael Nacer) and Léontine (Marianna Bassham), Léonide must carefully navigate the web of deception she has spun while managing her complex relationships and emotions.
Upon entering the theatre, audience members were immediately greeted by a grassy stage and a lonesome bench, with mellow French music filling the space. After the house lights dimmed and the curtains rose, a beautiful botanical garden was revealed, complete with a painted backdrop. Completed with vibrant, period-accurate costumes, the production was like watching a moving painting, and every flower and lemon bush is strategically placed to advance the plot.
From great comedic timing to displays of distress, the cast expertly portrayed their characters, bringing the story to life. Even the most eccentric characters, like Harlequin (Vincent Randazzo) and Dimas (Patrick Kerr), were lovable and realistic.
Most notably, Bassham delivered a captivating performance as Léontine. She brought remarkable depth to the role, seamlessly portraying a wide range of emotions while remaining fairly stoic. Every complex thought Léontine experienced was written on her face, making her internal struggles all the more evident to audience members.
Léonide’s breaking of the fourth wall during certain scenes added a comedic element to the performance, allowing viewers to feel even more immersed in the eccentric period piece. For instance, while discussing her inner thoughts, Léonide would make direct eye contact with certain viewers, making for a memorable moment shared between the cast and the crowd.
The stage’s lighting was beautifully designed by Christopher Akerlind. Reflecting both the production’s setting and the emotional states of the characters, the strategic colors of the lights immersed viewers in the story and gave them a better understanding of the characters’ challenges. The lights also perfectly complemented the stage’s backdrop, which seamlessly changed from scene to scene.
The standout element of the play by far was its gut-wrenching ending, leaving viewers unexpectedly heartbroken. Ending on a moment of silence as Hermocrate and Léontine face the crowd, looking out as if crying for help, leaves a haunting image that lingers long after the curtain falls. The ending is thought-provoking, making viewers question love’s polarizing effects on people and whether the means of pursuing one’s passions justify the ends.
While the title of the show is about love’s victory, it also explores passion’s all-consuming power — one that can both uplift and destroy. Love, while blossoming for some characters, is brutally stripped from others, revealing itself as a fleeting facade of hope. For a comedic play to end in such a serious manner, it forces viewers to humanize the characters ridiculed for simply believing in love and new beginnings.
Going in blind, this show was a nice surprise for me. Although keeping up with the characters’ names and relationships to one another was a bit difficult at the start, I enjoyed seeing the strong personalities on stage and the beautiful set and lighting design accompanying it. Every detail of the show, from the blocking to the props, was evidently planned with love and passion, making the production all the more enthralling to watch.
“The Triumph of Love” will run at The Huntington Theatre until April 6. Tickets start at $29.
