Shakespeare Theatre presents screwball comedy

He is petulant, jealous and insecure. She is glamorous and something of a diva, with a history of lovers so long, everyone has lost track of the exact number. Both of them are well-known popular actors who are also egotistical, self-centered and tend toward histrionics. And then they decide to marry. Gee, what could possibly go wrong?

When Ferenc Molnar's "The Guardsman" opens, this theatrical couple has been married for all of six months and, already, she is bored. He can tell; she keeps playing Chopin on the parlor piano. This makes him agonized, desperately fearful that her eye and heart are poised to wander.

Ah, but our Actor (he remains unnamed) has a plan, which he divulges to Doctor Mezei, who functions as an occasional theater critic, sounding board and loyal family friend. The Actor will use all his skills to win her back by masquerading as the sort of romantic figure he believes his wife might find most attractive: a secret admirer, a mysterious and dashing guardsman. The first bouquet of flowers arrives, followed by more cards and letters. Helene, the actress is obviously intrigued. Eventually, the Actor will dun his disguise: a wig, false moustache and spectacularly braided uniform and woo away his own wife.

But the twist of the plot is this: if the plan succeeds the Actor triumphs as a husband but fails as a gifted professional. If it succeeds, the outcome is even worse. The Actor, ironically, will become his own rival. Holy schizophrenia!

Although "The Guardsman," now on stage at The Shakespeare Theatre of New Jersey in Madison, has its hilarious moments — it comes across as a turn-of-the-century screwball comedy — there are tears and real psychic pain beneath the laughter. That's because Molnar wrote it after his own tortured breakup with a famous actress. The play ended up the favorite vehicle for a real life theatrical couple, Alfred Lunt and Lunn Fontaine, who performed it on Broadway in 1924, on film in 1931, and even on radio in 1945.

Longtime company veterans Jon Barker and Victoria Mack are no Lunt and Fontaine, but they provide reasonable facsimiles. Mack is cool and elegant as Helene, barely suppressing her irritation with her husband. She feels trapped and no wonder: Barker's Actor is an over-the-top drama queen: declaring his passionate devotion one moment, bullying her the next. When wracked with roiling emotions, he tends to drop to his knees or crawl along the floor. We almost expect him to chew the brocaded drapes.

It does seem rather a relief when Barker transforms into his alter ego, the gallant Count Victor de Latour-Schonichen of the Imperial Royal Guards, he with the billowing cape and ridiculously thick Hungarian accent. Not surprisingly, in their encounter outside her opera box, the count sweeps the actress off her feet.

Or does he? Is Helen truly smitten or is she just playing along with her husband's game? It's difficult to say because these two, who seduce audiences for a living, can't seem to distinguish between what is real and what is not. They conjure up elaborate fantasies, competing at home and on stage, and to know the answer is also to understand who is ultimately the better actor.

This is not the first time the Shakespeare Theatre of New Jersey has tackled this material. Some 15 years ago, the company presented a musical version called "Enter the Guardsman" written and directed by Scott Wentworth, with lyrics by his wife, Marion Adler and a score by Craig Bohmler.

Personally, I prefer the musical, but this version, newly adapted and directed by Bonnie J. Monte, has its pleasures. The leads receive solid support from Wendy Barrie-Wilson as the dependable housekeeper nicknamed Momma, who tends to the couple's needs; Saluda Camp as an eavesdropping maid; Sheffied Chastain as a determined and canny bill collector, and Noreen Farley, as a discreet opera usherette. The hardest working member of the cast, however, is Brent Harris who plays Dr. Mezei, the critic/confident. His reactions, that run the gamut of bemusement to utter exasperation, are alone worth the price of a ticket.

Brittany Vasta has designed a sumptuous set, all velvet and satin, while Gabor Lukin, Molnar's great grandson, provided a new translation of the play as well as an arrangement for a waltz written by Molnar himself.

THE GUARDSMAN

WHEN: Through July 26

WHERE: F.M. Kirby Shakespeare Theatre, 36 Madison Ave., Madison

TICKETS: $32 to $62. Student rush tickets are $15, available a half-hour before curtain with a valid student ID.

INFO: 973-408-5600 or www.ShakespeareNJ.org