The Glorious Seven 2019

As the velvet curtains rise, a vibrant troupe of seven actors appears before us, donned in the exquisite attire of commedia dell’arte, ready to reenact their unforgettable roles on a quaint stage. Leading the charge is Flaminio Scala, who effortlessly transports the audience back to a picturesque spring morning in Venice, setting the scene for an enchanting adventure.

Without warning, we find ourselves in a bustling piazza, where the Glorious Ones leap into action, constructing a makeshift stage to share their distinctive, bawdy humor. The talented performers explain that their material largely stems from improvisation — a concept beautifully demonstrated by Flaminio Scala as he recounts a hilarious episode from his childhood. We learn about his modest beginnings, tenderly raised by monks before he ventured onto the streets, where the lively parade of humanity inspired him to forge a new style of theater: the masked Commedia dell’arte.

As the narrative unfolds, we meet Armanda Ragusa, an adorable yet fiery performer, who harbors an unspoken affection for the charming Flaminio. Stealing small mementos like lost buttons and old stockings, she keeps them in a sack hidden under her bed. Meanwhile, as Flaminio rehearses a slapstick sketch about a tiny dog with Armanda, he is playfully interrupted by Columbina, his current romantic interest, who is growing tired of waiting and falls victim to his irresistible charm once again.

Next comes Pantalone, an aging miser and former tailor whose character in the troupe’s performances is both legendary and relatable. He shares moments of camaraderie and unrequited love with Armanda, reflecting on their shared sorrows in “The Comedy of Love.” Dottore Graziano, a comical ‘quack doctor,’ has sold Pantalone a love potion, but to everyone’s dismay, it appears entirely useless—Columbina continues to slide away from Pantalone’s grasp.

The antics backstage echo the chaotic hilarity that takes place on stage in their meta-theatrical presentation, “The Comedy of Love.” Flaminio Scala invariably finds himself victorious, having narrowly avoided tragedies, signaling a comedic twist with everything from rubber swords to mistaken identities.

As dawn breaks again, Flaminio encounters young Francesco Andreini, a gifted artist spreading joy in the streets. Feeling a paternal urge, he takes Francesco under his wing, sharing mentorship and wisdom through performances like “The Glorious Ones - Reprise.” As their relationship blossoms, Francesco surprises Flaminio with his ambition and mystery, masking his true aspirations under a humble exterior. Inspired by his apprentice’s ever-creative clothing, Flaminio devises an innovative costume for Francesco, assigning him the role of Arlecchino, the clown.

In a wild turn of events, Dottore frantically tries to access the stage but is thwarted by an imaginary barrier. Using his wit, he cheekily interacts with the audience in Latin, bringing laughter and delight. The next curtain rises on the troupe’s ambitious endeavor, “The Invitation to France,” a journey laced with excitement and an intent to impress the French Court with their brand of exuberant humor, which Flaminio believes will solidify his legacy as a theatrical genius.

Upon their arrival in France, the Glorious Ones commence their performance for the King, filled with uproarious comedic skits, culminating in the scandalous “Armanda’s Tarantella,” where the petite Arlecchino and the ensemble deliver an array of risqué humor. Surprisingly, instead of admiration, they are met with scandalized gasps from the strict court, prompting their hasty banishment from France. Flaminio, feeling angered and humiliated in front of his troupe, musters his artistic vision to rally them once again, though doubts begin to stir within Francesco.

As the curtains open once more, a luminous young noblewoman, Isabella, steps forward from the shadows. Secretly enamored with writing, despite her parents’ discouragement, she pens a story called “The World She Writes.” Francesco, with intuitive storytelling sense, encourages a bond that ignites between them, leading to a passionate connection and the creation of “Opposite You.” Their spontaneous elopement marks Isabella’s grand entrance into the troupe, instantly capturing the affection of every male member, spurring jealousy in Armanda and evoking compassion from Columbina.

Meanwhile, Columbina enchants the troupe with her ballad, “My Body Wasn’t Why,” expressing the deep yearning she feels for Flaminio, who unexpectedly relegates her to comedic support in favor of the new star, Isabella. As Columbina accepts her new role, tension builds within the ensemble. Their subsequent play, a reenvisioning of “The Comedy of Love,” features Flaminio holding the spotlight yet again, just as he begins to feel threatened by the smart collaborations of Francesco and Isabella.

Flaminio retreats into despair, visualizing nightmares of betrayal, as camaraderie brews backstage. A suggestion arises to bring Isabella’s original work to the forefront—a bold challenge to Flaminio’s authority that leads to an unforeseen vote in favor of the new play.

In a drunken haze, Flaminio witnesses his peers lampooning him. Ultimately, he concedes to embody Captain Spavento, a character that is both ludicrous and comical. Flaminio and Columbina prepare for the grand unveiling of “The Moon Woman,” where her heartening words strike a chord—reminding Flaminio that perhaps his life should transcend the stage.

On the cusp of performance, Flaminio’s gloom lifts when Columbina speaks of life beyond the stage, suggesting a more settled future together. As they step into the spotlight, the Glorious Ones unveil an elegant rendition of “The Moon Woman,” bearing refined masks and poise, a striking contrast to their earlier reckless improvisation. Yet, as Flaminio tries to maintain the poised formality of the play, he finds himself overwhelmed by the rigid confines, ultimately shedding his mask for a return to the spontaneous revelry of his roots.

In a climactic moment, Flaminio dramatically mimics taking his own life for love, only for Columbina to find that the blood is all too real. As they grapple with Flaminio’s tragic end, the troupe reflects on his legacy and their shared joys amid grief.

In a moving final act, Armanda arrives with a link to their past—“Armanda’s Sack”—reminding each member of the vivid memories they created together. They eventually reunite in a heavenly abode, where Flaminio awaits them, and once more, the beautiful setting of a starry night envelops the stage. They behold as the projector whirls to life, celebrating their comedic heritage through icons of laughter across ages – a vivid reminder of their art’s enduring influence. The curtain draws to a close as the Glorious Ones share in joyous laughter, cherishing the indelible mark they left upon the world of theater.