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Thursday, Jul 24, 2008
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Moliere's classic The Miser, rich with laughs |
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| Moliere's classic The Miser, rich with laughs | ||
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by Miryam Gordon -
SGN A&E Writer The Miser By Moliere Directed by Robert Currier Starring Todd Jefferson Moore Seattle Shakespeare Company Through April 6 Moliere was on his way to write a play about each of the seven sins, it would seem - except hypochondria is one of his seven, along with greed. We have a lovely surfeit of Moliere this month, with the addition of The Miser as companion to The Imaginary Invalid at the Rep. And what a nice contrast. Each production is fun and well-done and each is completely different from the other. For those not introduced to theatrical classics, this is about a miser. Since Moliere doesn't do anything by halves, this is a miser's miser. He spends nothing on repairs, doesn't care about how he or his family looks (in a time when fashion for the upper class is terribly important) and buries his treasure in the yard. His daughter is in love with the head servant, but afraid to say so. His son falls in love with a young lady who is being wooed at the same time by the father. The young lady doesn't have a dowry, which is against everything else the miser believes in, so it's out of character, but that fact prevents his son from telling the miser, and so neither knows they are wooing the same woman. However, aside from being a miser, he loves flattery and believes everything good anyone says about him. A typical Elizabethan-era comedy of errors ensues. Seattle Shakespeare Company has tapped Todd Jefferson Moore to play the miser, and if you know his talent, you would prepare for a scene-crunching performance. You would not be disappointed. Moore crunches into his role with all his gusto. He gnashes his teeth and growls like his dogs at anyone who might take his precious money. The able ensemble of actors who play his daughter and son (Jennifer Sue Johnson and Brian Claudio Smith), his son's valet and the household chef/coachman (the extra funny Craig Doescher and the extra funny Darragh Kennan), the matchmaker and the match (Leslie Law and Shanna Allman), and the head servant (Daniel Brockley) all orbit around Moore's huge planet, stuck there by the incredible gravitational pull of his money. Costumes by Deane Middleton are either appropriately outlandish or suitably drab and torn, and set design by Craig Wollam emphasizes the lack of money spent on repairs, with holes in the wall inexpertly covered by bits of wood. Some audience could see beyond a double door to bits of activity in the "yard." It's clever, but a little disconcerting to the audience that can't see it. However, the main door is very sturdily constructed seeing how much wear and tear the lock has to go through, especially in one of the funniest bits in the show. M. Elizabeth Eller makes the music more than just "background" with adroit changes from classical to modern and it's fun to wait for what song comes next. Director Robert Currier melds it all together and keeps all the actors bouncing merrily along. There are occasional little lags, but it's hard to tell if it's the translation or a little tightening of directing needed, but that's a pretty small quibble. Some of the jokes are wonderfully on the money (oops, sorry) about current events. They keep it fresh and interesting. There are lots of laughs and snickers and guffaws and snorts to be had. For more information, go to www.seattleshakespeare.org or call 206-733-8222. Comments on reviews go to sgncritic@gmail.com. |
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