The Archive Theatre’s The Three Musketeers is a new adaptation of Dumas’ novel by producing artistic director Jennifer Rose Davis. The script moves along at a good clip and the show clocks in at under two hours, giving a sort of madcap romp feel to an old classic adventure. Much of this energy is also thanks to our hero D’Artagnan (Diego Arroyo Aceves), who has enough passion for the entire cast, leaping and bounding his way through the space, grinning all the while, flinging his hair around, and falling in love in an instant (with Gabrielle Smith as charming, resourceful, and beautiful Constance – the infatuation is completely understandable). Not all of the cast are as comfortable or familiar with blank verse, and I do wish they had been given more coaching. The script isn’t exactly poetry, but done well, it has a flow to it that helps the timing along. When actors struggle with it, the momentum comes to a halt.

Occasionally, the script moves a little too quickly and doesn’t drop every character’s name enough for someone not already familiar with the story. The villain with an eyepatch was impressive, but I only assume he was the Comte de Rochefort (Justin Smith) by process of elimination; if his name was ever said out loud, I missed it. A number of smaller characters are referred to but not pointed out. When a blonde woman entered for the first time, my friend leaned over. Who is she? he asked. I scanned the program. The queen, I whispered back, but there was no one with that title on the cast list. (She was verified to be Anne of Austria once I figured out who Milady de Winter was.)

I’m not sure I understand why so much of the show is blocked in front of the stage, rather than on it. The stage at the Scottish Rite is large, raised, has gorgeous backdrops and apparently unlimited flyspace. But Davis has blocked so much of the action of the play on the floor in front of the stage, at the same level as the audience. The actors are closer to the audience, yes, but the seats aren’t raked. I had to lean side to side throughout the show in order to clearly see the action around other audience members’ heads. I can understand wanting some extra room for all the swashbuckling (impressively choreographed by Tobie Minor), but I would have been perfectly fine with the actors being a little further from me, if it meant I could see each scene clearly.

Archive prides themselves on their costumes, and there is good reason. A large team of designers and stitchers (led by designer Cecelia Gay) have created an enormous number of costumes for this show – enough for about 30 characters, many of whom have costume changes. An impressive feat for any show, much less a historic one. Capes swing, boots clomp, King Louis (Maxwell Hanesworth) shines in foppish white tights. The women’s costumes were beautiful, but where were the petticoats or hoops? I am no expert in historical fashion, but my understanding is that big wide hoop skirts were The Thing, off and on, for a pretty long time. Hoops make proportions make sense: in the final scene, delicate Anne (Claire Shelton) appears extra-tiny and top-heavy in puffed sleeves wider than her hem.  And then there were the floppy hair and the wide-brimmed hats. The hats were very nice, but their wearers were almost always lit from above (partially due to, again, blocking off the stage) and as hats are wont to do, the brims completely blocked that light from their faces. Below the hats, long wigs encroached on profiles. A particular offender was the wig worn by Bruce Gutierrez as Athos. Two locks of hair kept falling forward, so much that I’m not sure I could recognize him now out of costume; I just never got a good enough look at his face. Give the man a bobby pin!

It wouldn’t be a fair review to Archive to not mention their live music; Archive always includes live, historical music to accompany their shows, which is remarkable and always one of the best things about their shows. This ensemble featured flute, drum, vocals, and strings to transition scenes. I would love to see more information regarding the music in a program one day.

Photo: Steve Rogers Photography

Update 9/16/24: After publication, I was contacted by Archive leadership, who advised that the Musketeers time period was indeed one of the “off” centuries for giant hoop skirts. They also requested that this be the last time I ever review an Archive show.

The Three Musketeers runs through September 22, 2024 at the Austin Scottish Rite Theater. For more information or for tickets, visit The Archive online.