The Servant of Two Masters

For Mum and Dad

Thank you to Dad for gifting me with a Venetian heritage and for always speaking to me in his native Veneto. Thank you to Mum for always encouraging me to follow my art and for her wealth of knowledge and assistance in the translation of this text. Forever grateful, love you both.

The Servant of Two Masters was first produced by La Mama and Make A Scene at La Mama Courthouse Theatre, Carlton, on 13 July 2016, with the following cast:

Director and Adaptor, Rosa Campagnaro

Adaption Collaborators, Christian Bagin, Lyall Brooks, Sharon Davis, Roby Favretto, Lelda Kapsis and Irene del Pilar Gomez

Set and Costume Designer, Eloise Kent

CHARACTERS

PANTALONA, Clarice’s mother (a female version of the traditional mask, Pantalone)

CLARICE, Pantalona’s daughter and Silvio’s betrothed

IL DOTTORE LOMBARDI, Silvio’s father

SILVIO, Il Dottore’s son and Clarice’s betrothed

BEATRICE RASPONI, from Turin, disguised as her dead brother, Federigo Rasponi

FLORINDO ARETUSI, from Turin, Beatrice’s lover

TRUFFALDINO, a servant to both Beatrice and Florindo

BRIGHELLA, the innkeeper and a high-ranking zanni (servant)

SMERALDINA, Clarice and Pantalona’s zanni (servant)

ZANNI, masked servants, the roles of the waiters and porters

Dottore and Florindo may be played by the same actor.

SETTING

The play is set in mid eighteenth-century Venice over the course of one day.

ON THE TRANSLATION

This is a translation for the stage and the result of a development process that included translating Goldoni’s original Italian and Venetian text and then collaborating with the actors to edit and adapt for a contemporary audience. I wanted this work to maintain a Venetian spirit, and so found it necessary to create a new translation in order to obtain a clear understanding of Goldoni’s original intention. There were some challenges in the translation and questions were often raised and discussions had about how important it was to truly translate the text as opposed to use a phrase or word that still gives a sense of what Goldoni meant. For example, on page 40, Pantalona refers to the word ‘spuzzeta’.

… Oh, here comes that peacock son of his. In Goldoni’s Venetian text he used the word ‘spuzzeta’, which is a bit like saying ‘shithead’. But we don’t say ‘shithead’ because that’s offensive. So don’t say ‘shithead’, okay?

Spuzzeta is Venetian for little stinker, not peacock. However, the animal peacock gives a sense that the character is narcissistic and perhaps stupid. We debated as to whether we should use the literal translation or another mildly offensive word which still gives a sense of what Goldoni intended with ‘spuzzeta’ but allows us to use something that may have more impact and be more comic, like ‘shithead’.

Translation of Italian Words & Phrases

An English translation of the Italian words and phrases is provided immediately after in square brackets. The actors may choose the Italian or English text. If the choice is to say the text in both languages, it is recommended, as a general rule, to say the Italian first.

Signor: ‘Sir’ in Italian

Signora: ‘Madam’ in Italian

Beatrice is pronounced [bea’trit∫e].

This play went to press before the end of rehearsals and may differ from the play as performed.

ACT ONE

SCENE ONE

A room in the house of Pantalona.

PANTALONA, CLARICE, SILVIO, DOTTORE, SMERALDINA.

SILVIO: Here is my hand and with it I give you all of my heart.

PANTALONA: Come on, don’t act shy. Give him your hand.

CLARICE: Caro [Dear] Silvio, here is my hand, and with it I promise to be your wife.

SILVIO: And I promise to be yours.

PANTALONA: Viva gli sposi! [Long live the bride and groom!]

DOTTORE: Bravissimi! [Very good!] Now there is no turning back. Soon you will be a man.

SILVIO: A man?

DOTTORE: A man.

SILVIO: A man!

DOTTORE: A homo sapien erectus maximus.

SILVIO: A homo erectus man!

PANTALONA: Now, for the celebration, we don’t need to invite friends or relatives … I’m sure Signor Dottore agrees. We do things without bells and whistles here. Let’s keep it simple, okay?

SILVIO: I desire nothing more than to be next to my dear bride.

SMERALDINA: [aside] Of course, where else would you be?

DOTTORE: My son is not a vain boy. He has a good heart and he loves your daughter.

PANTALONA: I must say this wedding was truly made in heaven, because if Signor Federigo Rasponi of Turin, my business associate, hadn’t died, Clarice would be marrying him and not [gesturing towards SILVIO] my dear son-in-law.

DOTTORE: Misfortune comes on horseback and returns on foot.

SILVIO: One man’s misfortune is another’s … fortune.

CLARICE: Oh, Silvio, you have such a way with words.

SMERALDINA: [aside] Yes, he’s a real Goldoni.

SILVIO: Grazie, mia cara. [Thank you, my dear.]

A knock is heard.

PANTALONA: Smeraldina, see who that is.

SMERALDINA: [shouting] Come in!

TRUFFALDINO enters.

TRUFFALDINO: Your humble and reverent servant at your service for all you good signori [sirs and madams]. Ah, what fine-looking people!

PANTALONA: Who are you? What do you want?

TRUFFALDINO: Scusi. [Excuse me.] I don’t want to interrupt, but who is the master of the house?

DOTTORE: I am.

PANTALONA: I am.

TRUFFALDINO: [to DOTTORE] You are the master of the house?

DOTTORE: Sì. I’m the master … but not of this house.

PANTALONA: I am the master of this house! What do you want?

TRUFFALDINO: I don’t want to interrupt, but [to PANTALONA, referring to CLARICE] who is this fancy lady?

PANTALONA: My daughter.

TRUFFALDINO: I don’t want to interrupt, but … wow!

SMERALDINA: She’s engaged.

TRUFFALDINO: Oh. [To SMERALDINA] And who are you?

SMERALDINA: I’m her mistress, Signor.

TRUFFALDINO: Are you engaged?

SMERALDINA: Not yet.

TRUFFALDINO: That’s good. [To SILVIO] And who are you?

SILVIO: I am—

TRUFFALDINO: I don’t care.

PANTALONA: Okay, that’s enough. Who are you? Who sent you? And what do you want?

TRUFFALDINO: I am Truffaldino Batocchio from Bergamo. Who sent me? My master. And what do I want? Well, that’s easy.

TRUFFALDINO flirts with SMERALDINA.

PANTALONA: [to DOTTORE] This man is an idiot.

DOTTORE: He seems like more of a quack.

SILVIO: Yes, duck, duck goose!

CLARICE: He means charlatan.

SILVIO: I knew that.

PANTALONA: Zitti! [All of you, quiet!] And who is this master of yours?

TRUFFALDINO: Uffa. [Ugh.] It’s a long story. My master is Signor Federigo Rasponi from Turin.

CHORUS reacts.

Federigo Rasponi from Turin?

DOTTORE: Pantalona!

PANTALONA: Dottore …

CLARICE: Silvio!

SILVIO: Clarice!

SMERALDINA: Awkward.

TRUFFALDINO: Yeah, that guy. And he’s waiting outside.

PANTALONA: Get out of here, you madman! Signor Federigo Rasponi is dead.

TRUFFALDINO: What? My master is dead? He was alive when I left him. Are you sure he’s dead?

PANTALONA: Definitely dead.

TRUFFALDINO: Okay, well in that case, I better say my goodbyes. It was nice meeting you all. Ciao, arrivederci … [Goodbye, see you later …]

PANTALONA: What do you say, is he a fox or a fool?

DOTTORE: It seems to be a bit of both.

SMERALDINA: He’s foxy enough for me!

CLARICE: Silvio, if it were true that he were here for me, it would be a disaster.

SILVIO: So what? If he were alive and here in Venice, he would be too late.

TRUFFALDINO re-enters.

TRUFFALDINO: Hey, that’s not very nice, tricking people like that. That’s not how gentlemen behave!

PANTALONA: What?

TRUFFALDINO: Yeah, I’m talking to you. Signor Federigo Rasponi is alive. Not dead and he’s here.

PANTALONA: You’re crazy!

TRUFFALDINO: No, you’re crazy!

PANTALONA: Your mum’s crazy!

TRUFFALDINO: Don’t make me rapper-swear, dog!

PANTALONA: Hold me back or I’ll smash his face!

TRUFFALDINO: Hold me back or I’ll slap her with a donkey’s testicle.

DOTTORE: Per favore [Please], everybody stay calm.

CLARICE: Silvio mio [My Silvio], I am shaking all over.

SILVIO: Don’t worry, whatever happens, you’ll be mine.

BEATRICE enters.

BEATRICE: Signora Pantalona, the courtesy and kindness that you have demonstrated in your correspondence does not correspond with the ill treatment that I have received in person. I send my servant to ask for permission to enter and you dare to make me wait outside for more than thirty minutes.

PANTALONA: Forgive me, but who—?

BEATRICE: Federigo Rasponi of Turin! La riverisco. [Your obedient servant.]

TRUFFALDINO: I told you. [To SMERALDINA] I’ll call you.

BEATRICE: [to TRUFFALDINO] Go and wait for me outside.

TRUFFALDINO exits.

PANTALONA: I’m astonished. But glad to see you are alive and well.

BEATRICE: I know, it was reported that I died in a duel. Thank heavens I was only wounded, and as soon as I was better I came to Venice as we’d already planned.

PANTALONA: I don’t know what to say.

DOTTORE: Don’t say anything more. This man is clearly an imposter.

BEATRICE: You are correct to doubt me, but I can easily prove my identity with this document.

She takes a document out of her pocket, holds it up and quickly puts it away again.

PANTALONA is convinced and parts SILVIO and CLARICE.

PANTALONA: Okay, that is proof enough.

CLARICE: Silvio, it’s a lost cause!

SILVIO: Life I am willing to lose, but not you, my love.

PANTALONA: This wedding is back on. Dear son-in-law, come to Mamma. Forgive me for doubting you.

CLARICE: Mamma, are you absolutely sure?

PANTALONA: Sure enough.

CLARICE: Oh, unhappy me! What will become of us?

SILVIO: Don’t worry I tell you, you are mine and I shall defend you!

SILVIO whips out his sword.

BEATRICE: Is this gentleman a relative of yours?

PANTALONA: Yes … he is my nephew.

SILVIO: No, Signor, I am not her nephew, I am Clarice’s fiancé.

DOTTORE: Bravo. [Good boy.] Speak your mind … but calmly.

BEATRICE: Clarice’s fiancé? Wasn’t she to be married to me?

PANTALONA: Oh yes, but you know, we thought you were dead, so she was given to Silvio. Anyway, you arrived just in time. Clarice is yours. If you want her, please take her.

CLARICE: [to BEATRICE] Are you happy to have a wife who has already promised her hand to another?

BEATRICE: Sì, I’m not fussy. [Aside] I want to have a bit of fun with this.

SILVIO: Signor, you are too late. Clarice is mine and I will take revenge on whoever tries to take her. I will fight them with this sword!

DOTTORE: Signora Clarice will marry my son. The law is clear on this. [Latin gibberish or grommelot.]¹ You have caused us deep offence.

SILVIO: You haven’t heard the last of this.

DOTTORE and SILVIO exit.

BEATRICE: And you, dear bride, have you nothing to say?

CLARICE: I say, that you have come to torment me.

CLARICE exits.

PANTALONA: That little wag. [Aside to the audience] I said ‘wag’, not ‘wog’. ‘Wog’ is offensive so we don’t say the word ‘wog’. Okay? Don’t say ‘wog’.

Lazzo of ‘Don’t Say the Word’: All the characters repeat the phrase, ‘Don’t say the word “wog”’, including the audience in the game.

BEATRICE: Signora Pantalona, I feel for her, we cannot be too harsh. With time she may even come to like me. For now, let us go and discuss business.

BRIGHELLA enters.

BRIGHELLA: Pantalona, la riverisco [I revere you].

PANTALONA: Buongiorno [Good day], Brighella. You’ve come to discuss the menu for the wedding? Listen, nothing fancy, okay? Just a few pizzas and the house wine will do. Now let me introduce you to Signor Federigo Rasponi.

BRIGHELLA: Signor Federigo Rasponi? I thought he was dead?

PANTALONA: So did we; he’s not. It’s a long story. They don’t need to hear it again.

She gestures to the audience.

You know him?

BRIGHELLA: Yes, I was in Turin for three years. I even knew his sister [seeing BEATRICE] Beatrice … Ciao!

BEATRICE gestures behind PANTALONA’s back to keep quiet.

BRIGHELLA: I mean Federigo. Buongiorno, Signora … err, Signor. [Good day, Madam … um, Sir.]

BEATRICE: [aside] What the hell is he doing here? [To BRIGHELLA] Buongiorno, amico. [Good day, friend.] Tell me, what brings you to Venice?

BRIGHELLA: I am the proud owner of Brighella’s Inn. [To BEATRICE] Signora Beatrice, is that really you?

BEATRICE: Ah, that’s wonderful, congratulations.

She moves closer to him.

For the love of heaven, I beg of you, do not reveal my identity.

BRIGHELLA: Grazie [Thank you], and you will have to stay in my inn. [To BEATRICE] I will do my best.

PANTALONA: You two know each other?

BEATRICE: Sì, we do. Definitely.

BRIGHELLA: [to PANTALONA] Yes, of course. We go way, way back.

PANTALONA: Excellent. [To BRIGHELLA] So that’s definitely Rasponi?

BRIGHELLA: Sì, Signora. Definitely. Definitely.

PANTALONA: [to BEATRICE] Good. Now, about our business. Everything is in order and I will have your money very soon. Arrivederci. [See you later.]

PANTALONA exits.

BRIGHELLA: What’s going on, Signora Beatrice? I’ve put my neck on the line for you!

BEATRICE: Please don’t say a word to anyone, or betray me, dear Brighella. Dear friend. My dearest dear. My poor brother is dead, killed at the hand of my love, Florindo Aretusi. It’s a disaster! Do you remember how my brother did not want us to be together? It all happened so quickly—they started fighting and Federigo died and then Florindo, for fear of getting arrested, escaped. Heaven knows how much I grieved for the loss of my brother and how much I cried, but there is no bringing him back, and now I grieve for the loss of Florindo. I knew that he fled to Venice and so I decided to follow him. And here I am in the hope of finding my love. Signora Pantalona believes me to be Federigo. This isn’t a swindle. Pantalona’s money is rightfully mine! My brother is dead and I am his heir. So once we have settled the accounts, I will be paid and I can use the money to help Florindo. Understand that I cannot disclose my true identity otherwise I won’t achieve anything. As a man I am free and I want and need that freedom. It’ll be short-lived. But in the meantime things will sort themselves out. Look what love drives you to do.

BRIGHELLA: Nice story … So Pantalona’s money is yours, hey? Well then, you’ll be staying at Brighella’s Inn. [Aside] That’s my inn and it’s going to be very, very expensive.

BEATRICE: It’ll be my pleasure, dear, dear—

BRIGHELLA: Save it.

BEATRICE and BRIGHELLA exit.

SCENE TWO

Outside Brighella’s Inn.

TRUFFALDINO enters.

Lazzo of ‘Truffaldino’s Inner Conflict’: TRUFFALDINO battles with his angelic and demonic side. The text that follows may be used in this lazzo.

TRUFFALDINO: I have to wait here for my master … Oh, can you smell that? No, I must obey the master, but how can I when I am a slave to my stomach?

TRUFFALDINO’S DEVIL: Then you should listen to your stomach.

TRUFFALDINO’S ANGEL: If you listen to your stomach now you’ll regret it later when you have no master.