Little Devil and the War Machine is set during the peak of political instability in Renaissance Italy, when Florence was frequently involved in conflicts and shifting alliances. This reimagining draws on the spirit of commedia dell’arte to explore the dynamics between four key figures, intellectual inventor Leonardo da Vinci, political strategist Niccolò Machiavelli, military ruler Cesare Borgia, and the mischievous apprentice Gian Giacomo Caprotti (Salai).
Rather than a straightforward historical retelling, the production reinterprets the era through a queer lens, questioning how identity and power are constructed. With mask work, bold physicality, and scenes of heightened comedy, it builds a vivid interplay of relationships where status, desire, and power are constantly negotiated onstage.
The cast demonstrate confidence in the physical demands, working together to create hilariously precise, well-judged moments. Their mime and clowning are compelling, with movements that are controlled and readable, allowing the humour to land cleanly. It proves crucial in keeping the audience oriented even as multiple interactions unfold at once, while echoing the physical conventions central to commedia dell’arte. Sequences such as the over-the-top throwing of a baby across the room and the fast-paced three-way argument involving Salai, Leonardo, and Machiavelli highlight the ensemble’s ability to maintain focus through careful coordination and spatial awareness, even while juggling overlapping action.
Under the direction of James Vinson, the ensemble deliver distinctly defined characters, fully committing to the qualities embodied by their masks. Tim Sneddon is exceptional as Machiavelli, an observant and strategic figure whose influence is undercut by a lack of backbone. Phoebe Mason’s da Vinci carries cerebral authority, though it is often undermined by those around him. Fabio Motta’s Cesare Borgia cuts a commanding presence, where his control and assertiveness ultimately blind him to his own limitations.
Meg Taranto’s Salai is a spirited, impish character, driven by restless energy and a playful disregard for social order. Though unmasked, the use of white clown makeup and exaggerated body language aligns Salai with the production’s broader aesthetic, presenting an unpredictable persona that persistently disrupts the lives of those he encounters.
A touch of Renaissance-period knowledge helps to understand the context, but the story by Vinson is quite accessible and holds the audience’s attention as it moves at a breakneck pace without losing clarity. The motivations and intentions of the characters are well established, making it fun to track who succeeds in getting what they want and who falls short.
The stage is bare apart from two easels, one displaying a map of Florence and other significant locations referenced in the show to provide geographical grounding, and the second bearing an incomplete portrait of Borgia, which serves as a reminder of da Vinci’s recognition as an acclaimed artist. There are two highly effective instances where characters step out of the scene to address the audience while shrouded in a deep red light with music underscoring the moment, which lifts the intensity and briefly takes us into their internal world before returning to the narrative.
Little Devil and the War Machine is an assured and cohesive piece that marries historical inspiration with a playful, contemporary theatrical style. Drawing on commedia dell’arte traditions, the production uses expressive physicality and strong ensemble chemistry to reframe its period material through a queer lens, foregrounding contemporary ideas of identity and power and lending the work a sense of immediacy and relevance.
Little Devil and the War Machine was performed at The Motley Wherehaus between 23 March - 5 April 2026, as part of the Melbourne International Comedy Festival.
No comments:
Post a Comment