The play as a whole

I hope these notes will be particularly helpful to those of you working on a set design

A Servant to Two Masters - Set Design Notes

The opening scene strikes quite a formal tone – everything is mannered and done by the book.
However, it is middle-class. We are not really dealing with the aristocracy and the mega-rich. Rather, Goldoni is poking fun at the middle-classes with their small-minded attitudes and desire to be socially accepted. Pantaloon, with his financial caution, is probably the butt of much of the satire. He is quite well-off but not at the top of the social pile. His house is probably quite expensively decorated but he is not rich enough to be casual with the objects – he is probably terrified that something expensive will be broken. While the decor may be quite expensive, it may not be in the best taste.

Similarly, the scenes involving Beatrice, Truffaldino, Florindo etc. should not be made too grand. After all, they are ‘escaping’, ‘on the run’ and are really living from day to day. They can’t afford to stay at the grandest places and Brighella’s inn must reflect that. It should be a respectable eaterie, not a fine restaurant.

As I’ve said before, food is crucial to this play – it is Truffaldino’s single motivating force – and I’d really like to explore ways of involving the audience in that theme – probably by seating them as if at a restaurant and serving them food. They could, of course, be seated in Brighella’s.

I am suggesting that we need to create two environments here – Pantaloon’s house and Brighella’s inn (with some ‘outside’ spaces as well). They don’t need to be fully realised, naturalistic sets – but there does need to be a distinction between them. The plot is confusing and the audience needs to know very clearly where each scene is taking place if they are to have any hope of following it.

At the same time, it is vital that the play moves along at a rapid pace. We cannot spare any time for lengthy scene changes. Really, we need to be able to change from location to location almost instantly.

Of course, the two locations must be linked by the fact that they are both in Venice and I think Venice should be thought of as an important ‘character’ in the play. I don’t want to recreate Venice in 1750 but I do want to suggest it. It is the time and place I want to set the play. Of course, water might be important in that respect and I think it is worth considering how water might be used in the setting.
Another vital element to capture is the relish with which Goldoni treats his ridiculous and improbable plot. He seems to enjoy the fact that we couldn’t really believe any of it – except that we do believe it because it is happening in the theatre. I’d like the set to capture somehow that quality of make-believe, that theatricality. We all know it’s not true but we all believe it anyway.