[NEohioPAL] Berko review: THE MIRACLE AT NAPLES @ convergence continuum

[Roy Berko]

Laugh, but be warned—convergence continuum’s MIRACLE AT NAPLES

Roy Berko

(Member, American Theatre Critics Association)


--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview 
Times

--coolcleveland.org

David Grimm’s THE MIRACLE AT NAPLES is the kind of script that convergence 
continuum’s Artistic Director, Clyde Simon loves.  It’s filled with sexuality, 
bawdiness, in-your-face language, has a convoluted plot, and offers lots of 
opportunities for slapstick.  

THE MIRACLE AT NAPLES has a commedia dell'arte backbone. That type of Italian 
theatricality laid the foundation for the laughs in early slapstick films (think 
Marx Brothers, The Keystone Cops and the Three Stooges).  It centers on 
misunderstanding, mistaken identities, mix-ups, trickery, and sexual innuendos. 

Don Bertolino Fortunato, the conniving leader of a motley band of traveling 
players, arrives in a Neapolitan town square on September 19, 1580.  The people 
of Naples are awaiting the annual miracle: the liquefaction of the blood of the 
city's patron saint. Unfortunately, the miracle won't occur, and therefore, 
neither can the feast of San Gennaro.  That means that the penniless troupe 
can’t perform.  They have nothing to do with their free time other than to cause 
chaos and become lustful lovers.  In the process, one of the performers 
announces her pregnancy, two of the male cast not only have a liaison with a 
local lass, but fall in love with each other, and Fortunato, himself, rekindles 
an old love affair. 

A Boston director of the show stated, "David's genius is that he matches the 
play's bawdiness and boisterousness with incredible emotional depth and wit. 
This play is a gorgeous human exploration of love in its multiple forms, from 
the improvised and instinctual, to the courtly and classically romantic. David 
is a real poet of both the beauty of instant pleasure and the search for 
enduring meaning. He is equally adept at writing a deeply textured scene about 
love as a good dirty joke, and this play has plenty of both!"  I wouldn’t go so 
far as referring to the script as having incredible emotional depth, but it is 
very, very funny and well written.

How can a script with such lines as, “She has a face like a smacked ass” and 
“You are the joke, I am the punch line,” not delight?

Con-con’s production, under the direction of Geoffrey Hoffman, is fun.  He 
builds a nice level of pace and panic and seems to have a touch with the sexual 
overtones.  Maybe his forthcoming marriage has keyed his sensual senses.

Robert Hawkes hits all the right notes of outrageousness of Don Bertolino 
Fortunato, the father and theatrical director from hell.  Lucy Bredeson-Smith is 
a laugh hoot as the overbearing Francescina, nanny to the sweet, teenaged 
Flaminia.  Francescina’s plot for her ward can have sex and still be a virgin, 
is only one of many hysterical plot developments.  Beautiful Emily Pucell is the 
perfect Flaminia, a bundle of pulsating hormones with love on her mind. 

Stuart Hoffman, he of overdone pronunciation and posturing, has an old-time 
comedian Joey Brown face that he molds into all kinds of uptight smirks as the 
pompous Giancarlo.  Petite Lauren Smith, who both loves and hates Giancarlo, who 
has impregnated her, is a laugh riot.

Ray Caspio, as Tristano is delightful as the sexually confused Matteo.  The star 
of the show is Zack Hudak, who plays the simple Matteo, who acts on emotional 
impulses…logic be damned.  Hudak, with his doe eyes, mobile face and great comic 
timing, is a delight to watch.  This kid knows how to create comedy!  Caspio and 
Hudak’s “happy dance” brought forth spontaneous applause as did their extended 
lip lock!

The set is excellent, creating just the right mood.  The Liminis, the con-con 
performing space, only has 50 seats so tickets may be scarce for this 
production. 

Be warned: Horror of horrors, there are swear words spoken, male-male kissing, 
and the touching of female breasts.  

Capsule Judgement: From its very first line, "To hell with my virginity!" to its 
obvious happily ever-after ending , convergence continuum’s THE MIRACLE AT 
NAPLES is raunchy, ribald and funny.  It is definitely recommended for mature 
audiences who are looking for summer entertainment and aren’t uptight. 
 
THE MIRACLE AT NAPLES runs at 8 pm Thursdays, Fridays and Saturdays through at 
convergence-continuum’s artistic home, The Liminis, at 2438 Scranton Rd. in 
Cleveland’s Tremont neighborhood. For information and reservations call 
216-687-0074.

Con-con’s next staging, from August 19 through September 10 will be The 
Midwestern premiere of Adam Bock’s FIVE FLIGHTS, described as a “touching comedy 
about religious conviction, fear of commitment, and the courtship of a gay pro 
hockey player.”  Typical con-con stuff! 
Roy Berko's blog, which contains theatre and dance reviews from 2001 through 
2011, as well as his consulting and publications information, can be found at 
http://royberko.info.  His reviews can also be found on www.coolcleveland.com 
and www.NeOHIOpal