Hedgerow Theatre presents Matt Tallman's 'The Prisoner of Zenda'

Local actor Matt Tallman's adaptation of Anthony Hope's 1894 hit novel follows the genre's pattern, though it's a draft or two away from joining their popular ranks. A cast of five plays all the characters, telling the story with lots of wink-wink humor. We're meant to recognize and appreciate the theatrical tricks employed to drive the tale. We may know the story -- Zenda has been made into five films, two television movies, a play, an operetta, and a Broadway musical -- but the fun is in the frantic telling.

Double trouble

Tallman chose a challenging story. Englishman Rassendyll travels to Ruritania, where he's mistaken for its king the night before the coronation. After the king's half-brother, Black Michael, has the true king drugged and abducted, the king's attendant convinces Raassendyll to stand in and complete the ceremony. Smitten by the king's betrothed, Princess Flavia, he vows to rescue the man and dethrone himself.

Several scenes require the distinguished Rassendyll and drunken, debauched king to perform together, and of course they're played by the same actor, Tallman, who also directs. Some trickery with doubles, furniture angles, and circumstances like drunkenness allow them to be on stage simultaneously. It's not subtle or surprising, but it's still humorous.

Four other actors play multiple roles, managing some quick changes of Victorian-era clothing (costumes by Sarah Mitchell). Anna Marie Sell plays both Flavia and Michael's French mistress. Josh Portera plays evil Michael with a villain's laugh and a ridiculously fake moustache. Mark Swift’s king's confidant Fritz, posesses surprising talents. Tallman makes the villainous Barron Hentzau a woman, played by Allison Bloechl, in a modern twist that means she's featured in all of Jacqueline Holloway's rollicking up-and-down-the-aisles swordfights.

All in good fun

Tallman sets the play's melodramatic tone, which the entire cast matches with verve and wit. The play's jokier parts sometimes elicit more groans than laughs, as when a henchman called "the Belgian" chomps a waffle, or characters react with modern phrases like, "Are you messing with me?" More inventive are several shadow-puppet scenes showing the story's most cinematic action, and an actor playing a conveniently placed tree.

The production around them could be more colorful, but certainly serves the play's swift pace. Shaun Yates's set of platforms and stairs provides lots of levels, with set pieces and furniture gliding on and off. Jared Reed's lighting pops dramatically, and his sound design includes cinematic underscoring, especially for action scenes.

While Tallman gives the play some heart with a well-crafted ending, The Prisoner of Zenda doesn't consider the serious implications of its enduringly popular story -- but that's not what this new genre does. It streamlines and humorizes classic adventures to fit modern theater's economic requirements and audience's limitless appetite for escapism.