‘The Triumph of Love’ Review: A Night of Hilarious Romantic Entanglements

The Huntington’s current performance of Marivaux’s “The Triumph of Love,” translated by Stephen Wadsworth and Nadia Benabid and directed by Loretta Greco, is a delightful and fitting celebration of the season of love. Perfect for the spring — a time when love is in bloom — this classic French comedy offers the audience the chance to experience a timeless tale of romance and deception.

It’s a classic French play: It has elegance, witty remarks and a sharp commentary on philosophy. “The Triumph of Love” is about Princess Léonide (Allison Altman), who is trying to win the heart of her mortal enemy and the true heir of the throne, Prince Agis (Rob B. Kellogg). To conquer his heart and be triumphant she must deceive his mentor, philosopher Hermocrate (Nael Nacer), as well as convince his sister, Léontine (Marianna Bassham), to let her and her maid, Corine (Avanthika Srinivasan) stay at the siblings’ estate. Léonide and Corine take on disguises as two men, Phocion and Hermidas, pursuing the mentorship of philosopher Hermocrate, in order to get closer with Agis. The lies spin out of control and the mix ups entertain. A battle between love and reason ensues, as the characters fall for one another or their false identities.

The lush realistic grass and stunning hand-painted background, designed by Junghyun Georgia Lee, immediately transport the audience into a world that feels both romantic and realistic. The backdrop itself evokes the softness of an impressionist painting — reminiscent of Monet or Manet — and at moments, when the lighting changes, carries the shadowy depth of Rembrandt paintings. With slight shifts in the lighting, designed by Christopher Akerlind, the background seems to transform, making the set feel alive. The attention to detail is phenomenal; the grass seems so realistic that it makes one wonder how they could’ve possibly grown grass right there on stage. As the actors sit on the grass, it remains on their clothes as they stand up — just like real grass.

The performance of the actors meets the grandeur and artistry that the set so beautifully possesses. Nacer and Bassham act as the highlight of the play with their performance[S] as Hemocrate, the philosopher who opposes love, and his sister, Léontine. Their portrayal of characters who are staunchly opposed to love — who then gradually soften and change their perspectives through the cunning manipulations of Princess Léonide — is very believable. They bring so much depth and believability to their roles, making their characters feel simultaneously exaggerated yet never out of the realm of real life. The moment where these two characters shine the most is when both announce their engagements, only to realize they are pledging themselves to the same person — Léonide. Nacer and Bassham capture the sudden shift from joy to confusion, betrayal, and heartbreak phenomenally, leaving one in awe.

The play also features an intriguing character, Harlequin (Vincent Randazzo), who stands apart from the rest of the cast in both the style of his costume and his presence. Drawing clear inspiration from commedia dell’arte, Harlequin’s exaggerated and clown-like mannerisms create a striking contrast with the more traditional refined French characters. Randazzo’s delivery as Harlequin often feels off-putting. If that is the goal, it is executed with great mastery.

In the future, the content warning before the play should be more explicit and clearly communicated, especially for those unfamiliar with the original work. While a content warning is issued in an email sent to audience members, it is only accessible through a link within the email. Thus, those who do not open that email would be unaware of the potentially triggering material on stage. Without a proper content warning these moments can catch audience members off guard, potentially causing distress. A simple announcement on stage or over the microphone would allow viewers to prepare emotionally and decide whether or not they would be comfortable engaging with such sensitive themes.

Overall, the Huntington Theater’s “The Triumph of Love” is a well-crafted production which combines both visual splendor and striking performances. The stunningly realistic set-design paired with a talented cast, delivering both comedic and heart-wrenching performances, makes the evening truly memorable.

“The Triumph of Love” runs at the Huntington Theatre through April 6.

—Staff writer Anastasia Poliakova can be reached at anastasia.poliakova@thecrimson.com.