A whimsical, misplaced notion of idealized passion, mistaken identities, wrapped in a satire of manners, leading to a duel in 18^th century aristocratic England is the witty essence of “The Rivals” a Restoration era play Richard Brinsley Sheridan wrote in 1775, presented by The Huntington Theatre Company.

Sheridan (1751-1816) wrote “The Rivals” when he was just 24 years old, modeling some of the plot after his own life.

     The play’s setting is the Southwest England city of Bath, a resort for the wealthy during Elizabethan and Georgian times. In these times, under the Stuart King Charles II, licentious frivolity returned to the theatres, in rejection of the Puritan mores and sensibilities that had been observed under Cromwell.

     “The Rivals” hero is well-bred Captain Jack Absolute (Scott Ferrara), who disguises as a poor soldier named Ensign Beverly in order to woo Lydia Languish (Cheryl Lynn Bowers.) He knows she is consumed with the romantic ideal, thinking that true love can only be found by eloping with a man unspoiled by wealth.

     Captain Jack’s father, Sir Anthony Absolute (Will LeBow), in cadence with Mrs. Malaprop (Mary Louise Wilson), wants to prevent the secret romance between his son and her niece.

    Ironically, Sir Absolute’s has arranged a marriage for Lydia with Ensign Beverly. But when Lydia discovers Beverly is wealthy Captain Jack Absolute, she rejects him just the same. She clings to her unshakable belief that wealth and greed are ruinous to pure love.    

     In a parallel subplot, Captain Jack Absolute’s close friend, Faulkland (Gareth Saxe) falls in love with Julia (Mia Barron) whose guardian is Sir Anthony Absolute. Faulkland doubts Julia’s love for him. He tests her.  She rejects him before finally forgiving him.   

     This was a time when a man was expected to defend a woman’s honor by challenging another man to a duel, and Bob Acres (Brian Hutchison) so challenges the fictitious Ensign Beverly, as Sir Lucius O’Trigger (Rod McLachlan) also challenges Captain Jack Absolute.

     This pandemonium and the threat of Jack’s life pushes Lydia to step forward to stop the duels. She realizes then she is in love with Jack Absolute.

     In his own life, when he was merely 18 year-old, Sheridan eloped with his young love, Elizabeth Ann Linley, daughter of composer Thomas Linley.

     In his extravagant, impulsive youth, Sheridan had brashly engaged in frequent duels that he later incorporated into this, his first play.   

     William LeBow was pivotal as Sir Anthony Absolute, a testy yet indulgent father. His gave a stunning performance; remarkable in visual and auditory power.

     LeBow’s stage manners singularly captured the ambiance of 18^th century aristocracy in England, skillfully transporting the audience back in time.

     Mary Louise Wilson as Mrs. Malaprop was aptly engaging and delightful in portraying an offbeat, middle-age woman who sees herself as the “Queen of Words” when in fact she massacres the English language. Wilson’s character provided numerous laugh-out-loud moments of the play.

     Instead of “alligator,” Mrs. Malaprop said, “He’s as headstrong as an allegory on the banks of the Nile.” 

     Instead of “pinnacle,” Mrs. Malaprop said, “He’s the very pineapple of

politeness.”

     Sheridan, in rendering Mrs. Malaprop as a character in his play, gave rise to the term “malapropism” an unintended wrongful usage of a word resulting in comical effect.

     Cheryl Lynn Bowers as Lydia Languish is the golden-hair idealistic

maiden. She delivered a lively performance filled with poetic speech but was hampered by the predictability of the character she played. 

     Scott Ferrara as the courageous but manipulative Captain Jack Absolute was measured and credible in his historical role. He drew upon his past experience acting in many Shakespearean plays. 

     Alexander Dodge’s gorgeous scenic designs gave critical contributions to this visually handsome historical play. The ever-present, elegant, Palladian architectural style formed the backdrop, giving texture to all scenes. Large sections of it glided toward center stage, rotating to give a hint of ornate room interiors as scenes required. Three large, manicured trees descended from above to form a row of tree-lined pathway for the final duel scene.

     Michael Krass’ costume design mimicked the finery of the day. He brought 18^th century England vividly back to life. His design was colorful eye-candy; a luscious treat vital to the success of the play.

     In the 18^th century, clothing and accessories defined men and women’s social ranks. Men strutted in curly periwigs, large-collared blousing shirts, baize waistcoat faced with silk, lace and satin topped with gold buttons, velvet hats, canes and buckled high-heel shoes. 

     Women’s gowns were plush, as a tight corset plunged the waistline nearly to a point, covered by a skirt and bodice with the neckline edged in lace, draped band exposing shoulders and cleavage in seduction. The hairdo was curled resplendently to resemble a row of organ pipes.

     Fashion of the day will change drastically to reflect a society’s current lifestyles and social values. But human nature in quest of romantic love stays exactly the same, is the joyful realization a theatergoer gets from watching Sheridan’s play, “The Rivals.”

       (“The Rivals” is at the Huntington Theatre through Feb. 6. For ticket information call 617 266-0800)