Ivy Rush, left, and Matt Hune in Triumph of Love. Photo by Craig HartleyWhich should rule our lives, reason or romance? The head or the heart?

Pierre de Marivaux formulated a uniquely entertaining exploration of this age-old question with his classic comedy The Triumph of Love — whose title pretty well tells you where its author stands on the eternal debate.

Premiered in 1732, the play feels fresh as ever (think about that!) in Classical Theater Company’s neatly realized and frequently downright frisky rendition.

The play’s appeal centers on its resourceful heroine, one of the theater’s most winning characters. Princess Leonide infiltrates the secluded sanctuary of the anti-love philosopher Hermocrate with a delicate mission. Having seen and fallen instantly in love with Agis, Hermocrate’s ward and student, Leonide is determined to make Agis love her. She also is determined to see Agis placed on the throne to which he is rightful heir.

The rub is that it was her own ancestors who usurped the throne from Agis’ family. Though Leonide had nothing to do with that, Hermocrate has raised Agis not only to detest love and women in general, but also to hate Princess Leonide in particular. So Leonide gains entrance to the household disguised as a male student. Through various ruses and under assorted identities, she makes not only Agis, but also Hermocrate and his sister Leontine fall in love with her, defeating the anti-love edict on all fronts — but complicating things enormously for everyone.

Marivaux’s trademark is his blend of merry mischief with philosophical musing that sometimes borders on the melancholy. The Triumph of Love can seem a tad verbose and convoluted in early stretches. Yet the heroine’s appeal, the intrigues and much punning wordplay keep it enjoyable. The final scenes provide an especially strong payoff: first with the comic climax when the three dupes realize they all are in love with the same person; then, with the richly satisfying denouement in which Leonide sets everything right. In many ways, it achieves a Shakespearean resonance, from its clever cross-dressed heroine to its wise and forgiving finale.

Despite a few stray moments — here too stately, there too broad — Julia Traber’s overall direction is deft and effective, balancing the play’s pensive and comic sides with good pacing and proper atmosphere.

Ivy Rush makes a delightfully determined Leonide. She has a neat way of conveying through look, voice and manner the role’s contradiction: “What have I gotten myself into? I’m going through with it anyway!”
Matt Hune’s Agis is engagingly forthright, his reluctance battling his attraction.

Thomas Prior’s pompous fuddy-duddy Hermocrate and Pamela Vogel’s primly willowy Leontine each find the humor and poignancy as their characters’ stodgy defenses give way to emotional vulnerability.

Bree Welch’s saucy, ever-helpful Corine is the perfect sidekick for the heroine. Philip Hays and S.A. Rogers make a low comedy holiday of their roles as Harlequin and Dimas, the play’s servant-clowns.

Claremarie Verheyen’s storybook costumes are handsome. Matt Schlief has designed an attractive garden setting dominated by the most striking stage topiaries I’ve seen since Heidi Landesman’s Tony-winning designs for the original Broadway production of The Secret Garden.

Love would always win out if it always had a champion as fair and resourceful as Princess Leonide. If only she could be persuaded to run for president.

THE TRIUMPH OF LOVE
7:30 p.m. Thursdays-Saturdays
2:30 p.m. Sundays through Sept. 25
Also 7:30 p.m. Sept. 19
Classical Theater Company
At Talento Bilingüe
333 S. Jensen
$18
713-963-9665