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The plot is appropriate in its context and makes sense. The plot has sense in it and very easy to follow. The plot also is very surprising and not that much predictable. “The Game of love and Chance” is charmingly written to show the inadequacies of the servant taking the masters’ role and the masters taking the servants’ role.
The realism portrayed is how love can control someone once truly fallen in love by the other person. Silvia truly falls in love with Dorante not realizing that she has already fallen in love with the real suitor and the same is also true with Dorante; as Edwin Wilson puts it, “the manner in which a performance depicts the real world (Wilson, 46).” it is very hard for such a coincidence to take place in the real world; this is what contains the unrealistic portion of the same.
The characters hoist their double standard in the entire play; in the first place, the mistress and maid conduct an expository dialog in a corridor to the accompaniment of much screaming and slamming. But while Trish as Silvia undergoes these motions with intelligence, a wit, and a command of changing tones that turn to be even keener as the day progresses; this is her excellent performance. Gemma as Lisette seems and sounds as if she was watching a carry on movie, all flutter and twitter and causal of innuendo. This seems to be a hit for equality; in most occasions, male comics have the monopoly on being crude and lewd. The costumes are ancient which suit the sexual and social context. The actors performed their roles appropriately which made the audience believe in the roles they were having. None of the actors seemed to miss the point while on stage; this was evident when the actors changed characters. The set drew the real world at the back of audiences’ mind which made the performance be livelier (Marivaux, Pierre, and Neil 87). The play utilized enough space to host different scenes that made the play be interesting and made
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