Scheming servants, bumbling masters, farcical concealments, disguises, mistaken identities, deliciously silly Python-esque wordplay, equally silly but also skillful swordplay--had Rossini seen this script he would have turned it into a comic opera to rival "The Barber of Seville." Inspired hilarity throughout.

A comedy that's as nimble and precisely practiced as any impressive act of swordplay. The period flair and Jolly's dialogue give the story a romantic atmosphere, and the characters are all immediately appealing. The play aims its point at the pretensions of honor and distinction that define the so-called nobility, and strikes swift and true. The fights are all set up in ways that are unique and fun, an absolute feast for any enthusiast of stage combat.

A hilariously entertaining farce, that kept me on my toes, completely unable to guess at the brilliant and well earned finale. The intricate stage directions, detailing the possibilities for the most ridiculous of sword fights beckon any stage production to go full tilt. Strong female characters dominate the story, and aim the pointy end of the sword directly at the present. A whirlwind script with a tightly constructed plot that never fails to deliver. The Lady does indeed demand satisfaction - and gets it.