If Dell’Arte’s newest offering feels dated, it’s because it is. Love’s the Best Doctor is adapted from French playwright Moliere’s l’Amour Medicin from the 1600s. Michael Fields’ rework adds an onslaught of tech and social media observations, cute musical numbers and unapologetic explication of our healthcare system in the brash ruckus and masked chaos that Dell’Arte excels at. Even though this highly stylized form of physical theater is not my favorite, I can’t help but to be charmed by the commitment to character, bold choices and strong ensemble work. With the addition of an amazing live band and lawn chairs smattered with former and current Dell’Artians, this show bewitches the audience willing to face the cold to enter the world of the clowns and kicks off this year’s Baduwa’t Festival.
We spread out blankets in the shattered remnants of the sun to face the back side of the school’s exterior in their Rooney Amphitheater. The raked stage adorned with a stylized “S” and simple set of two entrances feels somehow simultaneously refreshing and classic, like Old Globe meets Alexander Mcqueen Warehouse. The Elizabethan costumed band members take stage and serenade the house with familiar doctor-inspired songs with encouragement to sing along. The people who are familiar with the songs of that certain era gladly and joyously do. It feels like a festival and likeminded community in support of comradery. It also feels like being invited to Gran’s house to have an undisclosed discussion and enjoying sweets and baked goods before the “conversation” takes place. Enter director Michael Fields. Fields delivers a prologue that ties everything together in a dapper, humorous and charming way but with seriously tragic undertones. He highlights the absurdity of the dictates of current society and with that, the show starts. The entire pre-show to-do is appreciated and perfectly (and quite literally) sets the stage for the play — surprise, it’s a musical! Sidenote: I was disappointed to not hear a land or Indigenous people acknowledgement from a company that works hard toward diversity and equity, including the rebrand of this very festival. It feels like an oversight considering the prologue of its artistic director.
The show centers around the privileged Lucinde (Victoria Timoteo), daughter of the wealthy Sganaarelle (David Ferney), who yearns to “get out” and be free. Her TikTok account leads her to a man she wishes to pursue, but her father won’t hear of any of it. Assisted by housekeeper Lisette (Cynthia Martells), the pair devises a plan to feign illness in hopes Sganaarelle sees that his controlling nature is causing dis-ease in his daughter. Instead, he employs seven doctors (Julie Douglas, Mike Murdock, Tony Fuemmeler, Sean Lang, Ben Clifton, Tony Cogliati and Maria Sotiropoulou) of various modalities and questionable skill to “heal” her. The pursuit to identify what really needs to be healed drives the production.
With alumni and professional cast of this level, I was shocked to see a struggle with the overall comedic timing of the piece (drawing out of schtick with cats, the struggle to piece together words in lines and boo-hoos that continued after giggles subsided), but the youth of its run makes this forgiveable and it will undoubtedly be reconciled with age. These actors are so committed to character that it feels like they are playing heightened versions of themselves. It is only when juxtaposed with their maskless selves that one can appreciate the depth of their work. Outstanding performances are Clitandre (Evan Grande), performing the quintessential style with ease and surety. Martells, despite some line hiccups, is consistently in every moment and shows off a gorgeous and sultry singing voice. Timoteo warms up to her full ability and delivers a breathtaking monologue that is empowering and thought provoking. In addition, the ebb and flow of the doctors is expertise ensemble work, especially in this modality.
Not enough can be said about the outstanding band. The gorgeous lighting design by Michael Foster is absolutely stunning (especially in the blues and purples). The costumer also deserves a big up (or at least a mention in the program)
Love’s the Best Doctor is not my flavor, but I enjoyed the dish and am thankful for the experience. I could recommend you experience it also. Bring some warmth and cushion. Better yet, get some premium tickets so you can set up a La-Z-Boy living room in the back and bring the vibe.
Dell’Arte’s Love’s the Best Doctor continues in the Rooney Amphitheater Fridays, Saturdays and Sundays at 8 p.m. through July 6, with no show July 4. Visit dellarte.com for tickets.
Tiggerbouncer Custodio (he/she/they) is an empowered queer Indigenous Filipino artist whose works have been seen on Humboldt stages and elsewhere.
NOW PLAYING
EXIT Theater’s Short Play Festival concludes this weekend with performances of original works, June 26-28 at 7 p.m. and on Sunday, June 29 at 2 p.m. Call (415) 203-2516 or visit theexit.org.
COMING SOON
North Coast Repertory Theatre brings Shakespeare’s Romeo and Juliet to the 5th and D Street Theater July 11-Aug. 3. Visit ncrt.net.
This article appears in The Man Who Unsolved a Murder.