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A French classic gets a new spin at the Huntington

Director Loretta Greco at rehearsal for "The Triumph of Love." Jonathan Wiggs/Globe Staff Advertisement ''Triumph of Love' is clearly a period piece,' says Greco, who is also the Huntington's artistic director. 'It is 'commedia-informed,' but Marivaux is writing during a time of profound change. Centuries of belief are being questioned and these characters, some of whom are entrenched in severity, are being challenged to loosen up and engage in the painful, messy business of falling in love.' The plot follows Léontine, who has fallen in love with the rightful heir to the throne she has inherited, an exiled prince named Agis, who has been taught to despise her. To win his love, she must disguise herself, enlist the help of two clever and hilarious servants, and woo not only Agis, but his strict and dispassionate aunt and uncle. Greco has been connected to 'Triumph of Love' since 1992, when translator and adaptor Stephen Wadsworth ('The Game of Love and Chance,' which the Huntington staged in 1997) first worked on the script at the McCarter Theatre, where Greco served as staff producer. 'It was a classic no one knew, and yet it was filled with so much truth and beauty,' she says. 'There had been stiff and boring adaptations of Marivaux before, but Stephen, who had experience directing 18th-century operas, poured himself into this play. It's as if a piece of him lives in that era.' Advertisement Wadsworth, responding to questions via email, says 'With Marivaux, all the characters felt luminous, layered, persuasive. It was like meeting fascinating attractive people you know you'll know for the rest of your life.' Wadsworth's gift, says Greco, is his ability to capture the physicality of the comedy (personified by the servant Harlequin), and Marivaux's understanding of what makes people tick. 'There's a beautiful elegance to his language,' she says, 'and it's important that we create that lush, intoxicating beauty in the theater.' It's almost impossible to translate Marivaux literally, says Wadsworth, who is a busy director of operas, in addition to teaching acting and coaching singers at Juilliard. 'The language is slippery in tone, suggestive rather than forthright, and there's a sense that nobody actually says what they mean or even, often, means what they say,' he says. Altman says the heightened language keeps her on her toes, but while Léontine starts out confident that her goal is honorable, even she admits, 'the snare is … less so.' As she navigates the twists and turns her pursuit takes, she has to adapt, learning more about herself than she expected along the way. 'Nothing can prepare her for all the reactions and obstacles,' Altman says. 'She's wily, but she has a huge open heart and reacts in the moment. It's a fun ride, because it balances both levity and depth.' 'There are significant costs to the characters as they wrestle with desire. The ending isn't simple,' says Wadsworth. 'I think we're in a bigger, realer world of hard truths, where hope is ever present, where life can feel like a sitcom one minute, and psychodrama the next.' Advertisement 'It's important for the audience to fall in love with Léontine, along with all these characters,' says Greco. 'She's teaching old dogs new tricks through the power of love.' Marivaux has created a hybrid world, Greco says, that allows Léontine to move between the nobility and the servants, between the heart and reason. 'Style meets truth,' Greco says, 'and the balance and collision of the cerebral with the visceral is so delicious.' TRIUMPH OF LOVE Play by Marivaux. Translated by Stephen Wadsworth. Directed by Loretta Greco. Presented by At the Huntington, at the Huntington Theatre, 264 Huntington Ave. March 7-April 6. Tickets: $29-$165. 52 Songs, 52 Musicals, 52 Weeks Robert Saoud ('Library Lion,' 'The Band's Visit') launched 2025 by committing to singing 52 songs from 52 musicals in 52 weeks on Facebook, with the goal of inspiring donations to the 'It's a challenge,' says Saoud, 'for me and the Theater Community Benevolent Fund.' Over the first eight weeks of 2025, Saoud's songs have included 'Make Believe,' 'My Funny Valentine,' 'My Heart Belongs to Daddy,' and 'S'Wonderful,' to name a few, from such composers as George Gershwin, 'I'm trying to mix it up,' he says, 'balancing ballads with more upbeat songs. But I like including some obscure numbers. I started the year with a song from 'Show Boat,' because it marks the beginning of American musical theater, but I'm doing a Sondheim number and one from 'Wicked' in the coming weeks, so I'm including more contemporary composers, too.' Advertisement Saoud says he's hoping to raise $5,200 for TCBF by year's end with his weekly performances. A Contemporary Folk Tale Playwright, comedian, and activist Melissa Hale Woodman performs in Proceeds support