Theater review | Derring-do but also disappointments in Seattle Rep's "The Three Musketeers"

Theater Review |

The clatter and clang of swordplay is the first thing you hear as the curtain rises on Seattle Repertory Theatre's "The Three Musketeers."

There's derring-do aplenty in this rendition of the classic Alexandre Dumas action story, which displays more swashbuckling vigor than comedic finesse.

Using a recent adaptation by American playwright Ken Ludwig ("Lend Me a Tenor"), the staging by noted director Kyle Donnelly is certainly eager to please and lampoon, in a Mel Brooks-goes-Versailles sort of way.

It sports fine period costumes, in velvet and brocade and feathered chapeaus, by Nan Cibula-Jenkins. It boasts another impressive set design by Rep regular John Arnone, an array of metal towers, bridges and stairways that swiftly transform into 17th-century France locales.

And all those sword fights? They are robust and well choreographed by fight director Rick Sordelet.

Yet despite the large ensemble of actors thrusting and parrying like mad to entertain you, this broadly slapstick "Three Musketeers" isn't as transporting or laugh-aloud funny as it strains so hard to be.

Ludwig's script follows the original Dumas tale enough to cover basic plot points shared by most film and play versions.

Point One: Strapping country bumpkin D'Artagnan (Andrew William Smith) heads to Paris, hoping to join the Musketeers — an elite contingent of cavaliers loyal to King Louis XIII.

Point Two: D'Artagnan impetuously blunders into duel challenges with three renown Musketeers, Athos (Hans Altwies), Porthos (Jeffrey M. Bender) and Aramis (Ryan Shams), a forgiving lot who will welcome him into their exclusive fraternity.

Point Three: They all pledge to destroy an evil plot spun by Cardinal Richelieu (Jim Abele), his repellent goon Rochefort (Shawn Law) and the wicked vamp Milady (Cheyenne Casebier), to overturn King Louis (Alban Dennis) and his Queen Anne (Ellen Karas).

Though some jokey bits of American slang jar the ear now and then, Ludwig's other liberties with the tale are fine — including adding a sister for D'Artagnan, the plucky tomboy (and sword whiz) Sabine (Montana von Fliss).

Ludwig's script was a 2006 hit in England, at the Bristol Old Vic. What makes the Rep's rendition mildly entertaining but also strained is how cartoony and forced the comic shtick often is, how hit-and-miss. Many gags are laid on like thick Dijon mustard, and some are too repetitive (as when Milady keeps bashing a prone D'Artagnan with her truncheon).

In Act 1, particularly — before the tone shifts to movie melodrama — there's much dashing about, whacking upside the head and one-trait caricaturing.

Smith's D'Artagnan is an agreeable but rather blank palooka protagonist. His crush Constance (Jennifer Sue Johnson) all but disappears after their hot make-out scene.

Bender's Porthos is basically a fop who whines over a lost cape. Shams' Aramis is a libertine who spouts Bible verses.

And as King Louis, Dennis' decrees are all hissy fits.

Altwies is oddly coifed like an Allman Brother, but he rises above the slapstick fray to give cynical Athos an aura of bone-deep disillusionment.

And the villains are more defined as well, especially that hateful smoothie Richelieu. Abele reminds us that to score laughs, shouting or whacking is not essential. Plus, he wears the best dress in the show — a voluminous scarlet number.

The elaborate musical score composed by Wayne Barker serves up metallic frenzies for the sword fights, and the occasional burst of soupy movie music. The latter bring to mind some glorious old film treatments of "Three Musketeers," with the likes of Gene Kelley and Douglas Fairbanks doing the sword-wielding. Now may be a good time to rent one.

Misha Berson: mberson@seattletimes.com