Corrupt and ineffective civil servants, wealthy socialites behaving immorally, and clever up-and-comers manipulating their way to the top. It could be an episode of The Daily Show, but it?s actually the 19th century satirical comedy [tag]Diary of a Scoundrel[/tag]. The play?s enduring themes from the pen of [tag]Alexander Ostrovsky[/tag], father of realism in Russian theatre, currently grace the Masquers Playhouse stage in Point Richmond.
Ostrovsky?s young ?scoundrel,? Yegor Gloumov (Ulysses Popple) is dissatisfied with the humble existence he and his mother (Joyce Thrift) must share following his father?s death. Gloumov plots to use his superior intelligence to exploit fools of wealth and stature. The young man makes love to his ?horse-faced? aunt Kleopatra (Adele Margrave), fawns over his doltish uncle Mamaev (John Hutchinson), and flatters the old codger Kroutitzky (David J. Suhl), all the while pouring his true feelings out in a scathing diary. When the diary is found and a blackmailer (C. Conrad Cady) comes looking for some extra rubles, Gloumov?s plans for a do-nothing job and a bride with a sizable dowry seem doomed. Or are they? The clever rogue has one more trick up his sleeve.
The action of the plot is lively, and Rodney Ackland?s translation is clever. However, something is askew with the Masquers Playhouse production. Even though the venue is charming and it houses a collection of performances that show promise, the overall production falters in the approach to the piece. Co-directors Carlene Collier Coury and Marilyn Kamelgarn have two voices contending with each other: farce and drawing room comedy. Neither choice exclusively holds sway; so many exaggerated, farcical moments do not work well in tandem with understated, dry wit. Fortunately, the reverse is not true, as evidenced by Suhl?s interpretation of the lascivious old Kroutitzky. He garners plenty of laughs with subtle ease. Hutchinson, too, makes the most of the pompous society gentleman, Mamaev, perpetually snacking and brushing crumbs from his substantial frame.
To his credit, Popple eschews the larger-than-life performance style in embodying the title role. However, this amiable youth has not yet realized his potential and needs more of the effortless charm that Gloumov must exude. Both Thrift as Gloumov?s mother and Amy Landino as the aunt of his intended are committed but awkwardly cartoonish. Margrave has the strongest female turn, but she, too, is ill-served by the broadly comedic direction. Cady?s gossip, Golutvin, shows a delightful stage presence, and Mark Shepard as would-be benefactor Gorodoulin is fine if flamboyant. Alex Shafer?s servant Grigori provides wonderful wit, and Jo Lusk as the seer uses vocal agility to good comedic effect.
Many of the performers don inconsistent dialects, but in donning Carol Wood?s superb costumes, they find marvelously believable footing in the period. Save for two dresses constructed of noisy fabrics, Wood does an impeccable job. Adam Fry?s lighting is likely adequate but hard to assess due to opening weekend glitches. Joe Ponder?s sound design adds fitting ambience, but John Hull?s basic set is less successful.
Diary of a Scoundrel has some definite chuckles and a bit of the cynical glee of Ostrovsky?s script. With a little more trust in the subtleties of the text and the shrewdness of both actors and audience, those glimmers could become barrels of laughs. For more info on the show that runs through September 30, visit www.masquers.org or call (510) 232-4031.
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