Quintessence presents Josh Carpenter's adaptation of Mark Twain's 'The Prince and the Pauper'

Carpenter’s practical theater economy means six actors cover eighteen roles. Emily Dale White plays impoverished nine-year-old Tom Canty; Meg Rumsey-Lasersohn is Edward Tudor, son of King Henry VIII. They meet by chance and realize they’re nearly identical; each is intrigued by how the other lives and they exchange clothes.

The boys get separated abruptly, and Tom is left in Edward’s place in the palace when Edward is denied re-entry. Without planning or agreement, they switch identities.

A rough education

Each learns the other doesn’t have it better. Edward discovers poverty, alcoholism, and casual violence on the mean streets of London’s Offal Court — though his military training gives him an edge. Tom realizes that a prince, though living in luxury, is hindered by handlers and tradition.

The boys try to tell others the truth, but such a switch, everyone reasons, is impossible. A fake prince would revel in newfound power, whereas Tom becomes overwhelmed by Edward’s princely privilege.

Meanwhile, Edward’s new family just assumes “Tom” is insane. Both are defined by others’ assumptions based on their outward appearances — an analogy for intolerance.

John Basiulis, Mattie Hawkinson, Tai Verley, and Steven Wright play all the people they encounter. Summer Lee Jack’s quick-change costumes have all four switching from court to street. Alex Burns’s set likewise is built for speed, with two platforms that roll in with furniture for quick changes, lit cleanly by David Sexton.

All the characters narrate the tale to the audience, keeping the story fun while moving it forward.

Growth is good

Each lad learns to function in his new role. Tom realizes he has the power to make people’s lives better and becomes an advocate for the poor and disenfranchised. When he wants to free the royal Whipping Boy (a literal scapegoat, played by Hawkinson), Tom learns that releasing him would impoverish the boy and his family and devises a better solution.

Edward, with the help of similarly exiled nobleman Miles Hendon (Wright), continues insisting he’s the rightful king. But he also learns to stand up to tormentors, make friends, and employ genuine skills, not inherited power.

All the performers sparkle in their roles. Basiulis channels John Cleese as Officer Shields, Verley movingly realizes several desperate prisoners in just a few lines, Hawkinson’s crafty Lady Edith deserves a play of her own, and Wright’s Henry VIII is larger than life — just like the historical figure.

Carpenter leads them to the story’s humor without sacrificing suspense. He caps the play with William Shakespeare’s “the quality of mercy” speech from The Merchant of Venice, concluding on a lofty note that’s well earned.

While Twain’s story has been adapted many times for film, television, stage, and even video games, Carpenter’s version stands out for its faithfulness to the original and its relevance to today’s audience. Running under two hours, The Prince and the Pauper will delight audiences five and above.