All things Molière … and more.
May 20, 2018
“At the curtain call, the audience – completely won over and on their feet – brought back the actors several times. Even so, I wasn’t sure that they’d fully understood that the main target of this comedy – as our Orgon, Michel Bouquet, wrote in his book about Molière – was not the title character, but the man he played:
“There are many Orgons in the world today – people whose weakness lies in a preference for blindness, a need for authority, and dreams of obedience...”
~ translated from Francis Richard’s review of TARTUFFE at Théâtre de la Porte Saint-Martin in Paris, December 3, 2017.
TARTUFFE is not so much about hypocrisy or greed as it is about gullibility; in that sense, the main character is not Tartuffe, it’s Orgon. The key to a successful production often lies in creating an Orgon that the audience believes is clever enough to run a successful business yet dim enough to believe in Tartuffe when everyone in his household (except his mother) sees through him.
Here are a few interesting (looking) ones:
April 18, 2018
ANOTHER CREATIVE TARTUFFE FROM GERMANY.
I’ll let these production photos (yes) speak for themselves. Taken by Sandra Then, they’re from TARTUFFE which opened April 14, 2018 at the Düsseldorfer Schauspielhaus, Germany, directed by Robert Gerloff. I can’t find who the German translator is; perhaps it’s Robert Koall, given credit for ‘dramaturgie.’
And for an even better idea of this production, here’s the youtube trailer:
April 5, 2018
AN ALL-WOMAN, MODERN FEMMES SAVANTES IN FRANCE.
My goal in writing EDUCATING WOMEN, my translation of Molière’s Les Femmes Savantes, was to allow English-speaking theatre companies as much choice in tone and setting as Molière’s original script, but French director Agnès Larroque of la Compagnie du Détour has gone one better. She has set her version of this classic in a modern kitchen, with only five actors – all women!
The five women play Philaminte, Belise, Armande, Henriette and Martine, and each doubles as one of the men: Chrysale, Ariste, Clitandre, Trissotin, and Vadius. They also play the actors they really are, changing in full view of the audience and arguing about it onstage before beginning Les Femmes Savantes proper.
It’s fast-paced, side-splittingly funny, and more. The director had this to say about it: “These women are ridiculous; they touch us; they disturb us. It’s that balance – between the comic and the poignant – that is exactly what I want to explore in Les Femmes Savantes. [my translation]
It was produced in the 2016 Avignon Festival, and is still touring France (last show now scheduled is May 31, 2018)
March 20, 2018
TARTUFFE IN ROMANIA, 2018
Tartuffe opened March 18, 2018 at the Teatrul Maria Filotti in Brăila, Romania in a new Romanian translation by Doru Mareş. The director was Alexandru Mâzgăreanu, described as “one of the most creative and successful directors of the young generation.”
As local critic Armanda Filipine writes (translated):
“Of course there’s laughter – it’s a Molière play, after all – but when the director goes beneath the surface and the actors are true, it’s laughter mixed with sadness and with bitterness. This play deals with life, and life must always be taken seriously.“
November 13, 2017
TARTUFFE IN MONTREAL
Set in 1951 Montreal, the Lakeshore Players Dorval production of my TARTUFFE translation ran November 2 to 11, 2017:
A handful among many patron comments:
“Fantastic show! Was there on Friday and loved every minute”
“enjoyed every moment of the show”
“I was sad to see the Saturday show, because it was SO good, but I couldn’t suggest to anyone else to see it, since it was the last! Great job!”
“Really funny! Well done!”
“Enjoyed the production immensely! Bravo!”
“Great show…..well cast….well produced and directed….and……funny!”
“Fantastic play!!! Amazing actors/actresses. Dorine stole the show!!!!”
October 27, 2017
MODERNITY OF THE MISANTHROPE
Here are a few 2017 modern dress European productions:
May 22, 2017
TARTUFFE in AFRICA
TARTUFFE is a classic because it’s timeless and universal – as these two recent productions illustrate.
One took place at the Kenya National Theatre in Nairobi this past weekend – an A Falme Production of an English-language locally-written adaptation.
The second is Fortune Cookie Theatre’s touring production of Richard Wilbur’s translation, in association with Alliance Française, throughout South Africa (including Soweto, Durban, Cape Town, Johannesburg)