The Misanthrope by Moliere – New Theatre – Review by Frank L.

In a new version by Peter Reid
Aug 29th – Sep 10th @ 7.30pm

Reid states openly in his director’s note “Firstly, a confession I don’t speak French”. He further states he has  “studied him [Moliere] and his work, read a few translations”. He has avoided recent ones by poets and dramatists as he does not have “the resources that they had at the larger venues”. He further claims that he does have “a clear sense of what Moliere himself had…his bugbears, his sometimes bawdy style and his sense of humour.” He distils that “sense” into an hour and forty minutes (including an interval) of fast moving drama. He uses six characters while Moliere’s original cast was eleven.

The action is set in the salon of Celemine (Sorcha Furlong) where Alceste (Paul Kealyn), Eliante (Grace Fitzgerald), Philinte (Matt Ryan) and one Oronte (Bern Deegan) are visiting. Oronte is torturing the company with a reading of his latest poetic efforts. Bad does not give any realistic assessment of his efforts but the assembled quartet except Alceste politely applaud. As all but Alceste and Philinte retreat to the garden, Alceste attacks Philinte for applauding out of politeness. Alceste is a man of principle and for him it is wrong to applaud that which is not worthy of applause. For him a person ought to act and speak in a manner which conforms with what he thinks. So is set the central dilemma that runs through this comedy of manners.

Celemine even though recently widowed, suffers no such scruples as afflict Alceste. They are the antithesis of each other but he is obsessed by her. Philinte suffers from indecision in the extreme but he is just about able to decide that perhaps he may possibly be in love with Eliante.  Oronte is conceited, in love with himself and his own poetical lack of talent. Into this mix is added Giovanni (Matthew O’Brien), a mysterious Italian. So mysterious he does not feature in Moliere’s cast. He is Reid’s invention but he is a well-known theatrical type. He is a ladies man in the extreme who wastes no time in making sexual advances on Celemine. However Celemine is neither innocent or a push-over. In the ensuing amorous joustings, the fortunes of Alceste, Eliante, Philinte, Giovanni and even Celemine ebb and flow but Celemine for all her superficiality is pretty damn shrewd.

In each of the characters, Reid emphasises different aspects of the vices and virtues of the human condition and comedy is used to fine effect to make it all blend. Furlong once she gets into her stride is an entirely convincing Celemine, with the skill of a puppet master she conducts more or less the various goings on. In particular she and O’Brien, as he woos her, have a series of deliciously funny scenes where O’Brien’s dexterous ability to move his svelte, lanky frame adds to the high comedy of their unlikely potential coupling.

Reid expressly disavows making Moliere’s text his own. He claims that he has tried “to keep as close to his spirit and energy as possible”. He has created a fun piece of theatre.  His final word to the audience in his director’s note is the imperative “Enjoy”. It is very easy to comply as Reid has created a fast moving, well synchronised comedy of manners whose inspiration he acknowledges comes from Moliere.  Go and “Enjoy” as Reid has directed.