‘Family Feudalism’ opens tonight

Its unlikely subject matter is not the only way in which “Family Feudalism” differs from its predecessors. The show eschews a traditional plot and instead takes on a revue format, with alternating sketches and songs that are independent of each other but unified by the castle theme. It is also somewhat shorter than past shows, coming in at just under two hours. But the shorter running time doesn’t mean that this show offers any less of the gleeful singing, dancing and joke-telling that Triangle can be depended upon to provide.

The individual sketches portray a vast range of characters, including fairytale creatures, medieval re-enactors, game pieces and a host of historical castle-dwellers. There are also present-day characters who encounter castles in various ways, including a young woman (Carolyn Vasko ’13) who, in a particularly funny series of skits, tries in vain to win the love of a silent and stalwart Buckingham Palace guard (Adam Stasiw ’13). The revue format means that there are no starring roles — each actor gets a few moments to shine — and under the expert guidance of director Glen Pannell ’87 and choreographer Hans Kriefall ’87, the performances are uniformly excellent.

The songs are clever and tuneful as always. Standouts include “Monkey Business,” featuring an order of monks briefing their newest member on the rules of monastic life, and “Bring Back the Fever,” the lament of gravediggers who are unemployed now that the “death, comma black,” has run its course.

Even at Wednesday evening’s technical run-through, when many of the show’s production elements were still being prepared for tonight’s opening, it was clear that the final product would be of the professional quality that Triangle always offers. Nick Francone’s deceptively complex set is a castle made up of various parts that move around to depict different locations, while the lighting, designed by Michael Gordon ’11 and Alex Mannix ’12, effectively set the mood of each piece, from bright and showy to dark and somber. The costumes, by David Kaley ’97, are some of the best in Triangle’s recent history. Most thrilling of the scores of costumes are the lavish medieval gowns that play a central role in this year’s uproarious incarnation of Triangle’s famous drag kickline, aptly titled “Damsels in Dis-Dress.”

At the end of “Family Feudalism,” members of the cast address another question likely plaguing the audience: “What are we doing singing about castles? This is America!” There are, after all, no castles in America. One answer comes in the form of the final number, “(There’s a) Castle in Your Heart.” But another more practical answer is provided by the show as a whole: Castles are worth acting — and singing and dancing — about because they provide so much great material. Triangle’s writers should be commended for their choice of the revue form, which has allowed them to explore the many different ideas and scenarios that the castle theme inspires. Even if not every single joke or song is a standout, “Family Feudalism” is a consistently solid and often delightful offering from Triangle that is not to be missed.