‘Prince’ Comes Off as Stirring, Exciting

In an otherwise stirring and effective chronicle about Niccolo Machiavelli, Robert Cohen has inserted one false moment in “The Prince.”

Near the climax in Act 2, Scott Collins’ sound design erupts with Germanic orchestration, airplanes zooming overhead, rumbling explosions of modern weapons--the obvious point being that those seeking power (specifically Adolf Hitler)--practice Machiavelli’s methods. It’s a conceit and detracts from the play.

It’s evident the methods Machiavelli detailed in his book, “The Prince,” have been followed--consciously or not--by power-hungry leaders before the book and since. Examples exist around the world today, even in this country.

Cohen’s drama at UC Irvine’s Winifred Smith Hall tells the story of the Renaissance “clerk” who was more influential in his time than was generally believed. Machiavelli survived several Italian regimes, including the vaguely democratic government of Florence, the unthinking dictatorship of Cesare Borgia and the Medici holocaust, until his forced retirement turned him into a highly popular playwright, still promoting his “Prince” as a political guidebook.

Cohen’s use of modern speech is as incongruous as the modern speech used in “The Lion in Winter,” and is equally effective. In that play, Richard II’s family troubles are the source of its charm and strength. Cohen doesn’t examine the personal values and transitions in Machiavelli’s life; instead, his drama is founded on the historical events during the man’s life. One wishes for deeper insights into the man, but Cohen’s version is theatrically exciting, although there’s more narrative than necessary.

Cohen, who is both author and director, offers solid and insightful direction, though it would be fascinating for an objective eye to deal with the script. The performances are equally strong, for the most part, and well-drawn. But they are sometimes dwarfed by Kenneth John Verdugo’s impressive but altogether-too-huge set.

Joseph Osheroff’s Machiavelli focuses on Machiaevelli’s accomplishments and “right thinking” and belittles the fact that Machiavelli was a rather sneaky figure in the political clime of his day. Osheroff has several moments of towering strength, though, and forgiving his characterization of a too-kindly old man at the end, he is impressive in his broad strokes.

The performance of note is Jeff Takacs as Cesare Borgia. Takacs grabs the stage and doesn’t let go. His portrait of the bastard son of the Pope, who was one of the power figures of his time, and the main source of guidelines for Machiavelli’s book, is a towering statement of the man and his world. Takacs is also an effective physical actor; his gestures and arm movements appear carefully choreographed, like punctuation to his rich vocal treatment of the dialogue.

Jason Michael Spelbring’s Biagio Buonaccorsi is also impressive. Buonaccorsi is a lesser version of Machiavelli professionally and is the ultra-charming narrator who guides the viewer through the maze of Machiavelli’s career. Spelbring is at home in the style of the piece and breaks the fourth wall during addresses to the audience with casual humor and wit.

The strong support has Jon Dolton as sort of an Al Gore-style Florentine gonfaloniere (official); Carrie Baker luminous as Cesare’s mistress and an opaque commedia dell’arte actress; Donnetta Lavinia Grays as Niccolo’s long-suffering wife; and Corey Allen as Alessandro de Medici, the amusing bastard son of a Medici duke. Ramy Eletreby doesn’t score as well as an effeminate and campy Leonardo da Vinci.

Jason M. Spelbring: Buonaccorsi

Joseph Osheroff: Machiavelli

Jon Dolton: Soderini

Jeff Takacs: Cesare Borgia

Carrie Baker: Dorotea

Donnetta Lavinia Grays: Marietta

Ramy Eletreby: da Vinci

Corey Allen: Alessandro de Medici

A Drama at UCI production of the play written and directed by Robert Cohen. Original music: Christopher Dobrian. Scenic design: Kenneth John Verdugo. Lighting design: Alexis L. Hoeft. Costume design: Heidi O’Hare. Sound design: Scott Collins. Stage manager: Stephanie Yvonne Perkins.

SHOW TIMES

“The Prince,” Winifred Smith Hall, UC Irvine. Thursday-Friday, 8 p.m.; Saturday, 2 and 8 p.m. Through Saturday. $13 to $15. (949) 824-2787, (949) 824-5000 or Ticketmaster. Running time: 2 hours, 25 minutes.