Valentino is a very good play, let us get that out of the way first-off. It has a few problems that keep it from being a great play, however; one might say that these flaws betray the Old Elizabethian style of the play itself (or something more pretentiously phrased). Based loosely upon the actual life of Cesare Borgia - or rather, what facts are known - it balances between making a mockery of history and giving it life in modern times. It wobbles on to both sides at various points.
The Good
Act One: the first act is well paced and it does not rush us with information.
The Language: David Wisehart writes lines that both sound natural and are in verse-form that I can't even fathom trying to dabble in. The wordage is far from Shakespearian Iambic Pentameter, but they still exist within a certain set of rules that separate them from normal, free form dialogue. What's really fantastic is that you don't need to sift through the words in order to catch the meaning behind them, while they are still, in effect, alien and ancient.
Swordfights: I have said all I need to say about this topic. Boys will be boys.
Renato Biribin Jr., Sam & Neil Fleischer: Valentino, Niccoli Machiavelli, and the Pope. Renato looks the part. He just does. He also never hobbles too far into the realm of good guy or bad guy, so everything that he does, you believe. Sam F. does a great job as Mach, as both narrator (honestly, Wisehart writes the best explanation for theatrical narration ever) and a guy held between loyalties. His subtle facial expressions, especially in the final scene, are very interesting as they showcase his character's inner feelings about what he is saying and doing. But Neil F. steals the show in two brief scenes as The Pope. Even though he is not a funny character, it becomes a dark comedy when he and Biribin share the stage.
The Bad
Act Two: For a revenge story, the first act does a wonderful job of setting everything up, while the second act breaks it all down and makes it as simple as "hey, the Lakers won. Let's go celebrate by wrecking public property!". It is also extremely short. If it is indeed another hour of playtime, then that's good. But it felt like the play was off-balance with the placement of the acts.
Lack of Summer Dare Litwin: After a promising monologue in act two's first scene, she vanishes, having only two scenes.
Give Da Vinci and Machiavelli Something To Do: They are both interesting characters, but they are also the two most known people taken from real life, so that in turn says that they are important. Yet they do absolutely nothing, save Machiavelli, who serves as the aforementioned narrator. Wisehart (who also plays Da Vinci) dives early on into the concept that all artists are influenced by one another, but never goes anywhere with it. In fact, Da Vinci has the most ridiculous monologue of the play, seemingly coming out of nowhere in order to cement his urgency as a character.
I liked this play a lot. Despite its flaws, it stands on its own.
I'd love to see what Wisehart does with it in Fringe 2011.
Valentino runs thusly:
Thursday June 24, 2010 8:00 PM
Friday June 25, 2010 9:00 PM
Saturday June 26, 2010 9:00 PM
Sunday June 27, 2010 8:00 PM
The Complex, Flight Theater
6476 Santa Monica Boulevard
Hollywood, CA 90038
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