Mark Erson’s latest work is “Marc in Venice” and, as serious as this show is, you know that Erson is a writer who is out there a bit. A veteran of the Edinburgh Fringe Festival, this story’s style resonates with comic timing in serious situations, like ‘A Funny Thing Happened on the Way to the Rest of My Life, In Venice.’ We see Venice from the perspective of three different Marcs–first is Marcus the Evangelist (Howard Collado), who is the Patron Saint of Venice, and arrived, as many did to the 118 islands that comprise the city–he arrived as a refugee—quite the connection with our own times. The second is Marco Polo (Colin Colford), who arrives home from a world tour to a very different Venice than that of his boyhood. The third is Marc (Kevin McDowell Stevens)–a college guy travelling with his buddies Nic (Zach Lusk) and Will (Jackson Goldberg), before picking up the lives society has chosen for them. Each of these Marcs has an epiphany that changes his path from what he was determined to do. Will each of them find their way to happiness?
Marcus the Evangelist arrives when Venice is–well–a swamp. He metaphorically wrestles with his Angel (Omi Ford), whose mien of cool composure is broken in a series of charming asides when Marcus has gone off-stage in one of his peregrinations. Will he ever tell his story of the last days of Jesus?
Marco Polo arrives home to Venice after 24 years of traveling with his father Niccolo (Aristotle Stamat) and his uncle Maffeo (Jorge Humberto Hoyos), only to find their home nearing the auction block. Different times and no men about the house, the men arrive home to find Niccolo’s wife died of a broken heart and her harridan sister Francesca (Nancy Lindeberg) harangues the oddly dressed newcomers. Polo and Company are dressed in colorful Asian garb with full beards–Marco was only 17 when he left Venice and boys change to men. Maffeo’s wife Catherine (Jackie Maruschak) doesn’t recognize him, but when she pulls the newcomer in for a kiss, she recognizes her man.
Meanwhile, in the 21st century, our college buddies on their world tour happen into a restaurant, one night, where Marc meets Angelo (Francesco Campari), with whom anyone would fall in love. He’s charming, handsome and wise and just the right person to bring out in Marc what makes him illuminate. Like Michelangelo creating his David by removing all that didn’t look like his vision, Angelo chips away at the fetters of Marc’s present life to set him free. Watching it happen is limerance.
On the whole, the play is delightfully campy, arch and funny, as it intersperses some wisdom among the fun. That said, there are a few spots where a bit of judicious lightening would be most welcome. There is a v-e-r-y long speech by the Cardinal (Hoyos), when he is chastising Marco Polo for telling stories that seem to question the Holy Church. The near-monologue goes on for more than 20 minutes in a first act that is an hour and a half long. The perseveration of the pontification more than makes the point.
The actors are winsome and accomplished and it is pure pleasure watching them change like chameleons among their different characters. Ford was delightful, as were all three Marcs. Campari made me miss him whenever he wasn’t on stage and Hoyos was joyful to watch as well. I look forward to seeing all the actors in whatever is next for them.
This show has performances through October 18, so be sure to visit https://www.brownpapertickets.com/event/4336990 for your tickets. If you can’t travel this fall, just go to St. John’s Church at 81 Christopher Street and walk through the door to Venice. You’ll see fireworks over the lagoon, and over the hearts of the characters in “Marc in Venice.” See it today.