Of three Filumena translations I've seen, Timberlake Wertenbaker's gets quickest to the heart of the matter and stays there. It's a struggle between ex-prostitute Filumena Marturano and her arrogant, straying lover Domenico Soriano for the acknowledgment of their relationship. It's a Big Fat Italian Family thing. For a family, there needs be husband, wife, children -- all with one name and preferably under one roof (that is, entitled to the property).
As the play starts, Filumena has just tricked Domenico into marrying her by pretending to be on her death bed. Why now, after 25 years together? Domenico, it seems, has decided to marry a buxom young blond, Diana, who came into the house as a nurse. And what a house! Marble-columned with mirrors and substantial fireplace with a relief of angels peering down from the ceiling and windowed doors opening onto a beautiful Neapolitan scene. How like Domenico's taste in clothes, like the gold-striped smoking jacket and silk shirt in which he first appears, hitting himself for being so deceived and striking out at Filumena for laughing. (Patrick James Clarke fits into this role as slickly as he does into Domenico's black and white spectators.)
No one wins the initial fights, in which recriminations act as exposition. (Basically, Filumena feels she's earned the Soriano name and all that goes with it, whereas Domenico would be willing to support her but set her up elsewhere.) Later, when a lawyer assures that the marriage can be annulled, Filumena pulls a trump card. She has three grown sons, and one of them is Domenico's. Is he staid Jed Alcher's bright accountant Umberto, who writes and studies part-time? It could be solid Scott Casper's Michele, an enterprising plumber with a successful business and fine family. (Ah, grandsons!) As for business, Riccardo -- portrayed by suave Damon Bonetti -- owns a shirt shop. Personally, though, as the Soriano maid (assertive Jennifer Plants) can testify, Riccardo's on the ready to be a ladies' man. Watching Domenico watching them is the core comedy. Feeling Filumena's dilemma -- that if she tells his son's identity, it would be divisive -- puts us at the heart of the drama. Will the acceptance she's had from her sons ultimately be felt by Domenico for her and for them? A simple, sudden reversal scores a theatrical coup.
Praise to Geraldine Librandi for being a truly Neopolitan Filumena, whose anger does not consist of thumping, screaming, and constant broad hand gestures but is a part of her. Director Isa Thomas wisely steers her away from making melodramatic "big scenes" out of her major revelations. In this version, the household servants are also underplayed. Douglas Jones is a good listener as Domenico's valet and sidekick Alfredo, whereas Rosalind Cramer's Rosalia sings Filumena's praises without going overboard about her own misfortunes. Kim Kennedy Blair's Diana, no matter how buxom and seemingly eager, is also obviously no fool. Filumena is not as hard on Diana in this version of the play as in others, thus making her a more understanding heroine. John Sterling Arnold's lawyer is obviously a modern version of the commedia type; it is good to see him less blustering than in other Asolo roles.
Despite Filumena having played so recently elsewhere in Sarasota, this version is worth a second look. A first one will also be rewarding.
