La Jolla Looks Abstract with 'The Deception'

Stepping into the La Jolla Playhouse's Sheila and Hughes Potiker Theatre, it is easy to immediately be transported into an abstract world of delightfully foreign art, thanks to the staging of Pierre Marivaux's classic La Fausse Suivante (The False Servant), completely re-imagined, as The Deception, by adaptor Steven Epp and director Dominique Serrand.

For any Marivaux enthusiasts, should there be any in the Southern California area, this comical retelling of the French farce, gives a fascinating and often whimsical spin on the theatrical relic.  Marivaux, known for his witty dialogue, could be regarded as a sophisticated version of Shakespeare, full of Old World charm yet slightly more curious.

Presented along with Theatre De La Jeune Lune, La Jolla's The Deception is anything but another tired look at a European play – how many version of Hamlet can actually be staged without growing weary – rather it is refreshing in its almost groundbreaking vision, partially mime-like in parts.  Actors begin expressing their emotions as much in their movements as in their words, think circus clowns, sending moments into comical bliss at times.

The Deception tells of a young and wealthy woman (Merritt Janson) attempting to outwit her pre-arranged fiancé, as she dons a disguise appearing to be a chevalier.  Coyly befriending her possible husband Lelio (Casey Greig), money is soon discovered to be the culprit to his deceiving ways, trying to extort a countess (Emily Gunyou Halaas) before marrying his promised bride.  Chevalier, along with ruffian assistant Trivelin (J.C. Cutler), not only disrupts and ultimately punishes Lelio, she succumbs to the deception and hurts the otherwise innocent countess.  Money makes this French world go round, and laughs, sorrow and deceit help spin the intricate web in Marivaux's world.

Serrand's approach is daring, pacing the show at what times feels almost sluggish, yet the director never allows his production to falter.  Instead, he has crafted a surreal piece of classical art.  Taking place in front of a high reaching green glass wall, from scene designer David Coggins, each of the characters is faced with seeing reality through a frosted pane, never fully understanding the others' motivations.

Rather than dipping into Shakespearean silliness of cross-dressing trickery (As You Like It), Janson's take on Chevalier is deeply layered with constant doubt and constant ambiguity, seemingly developing loving adoration for her hired prey, The Countess.  In a cat and mouse type dance, both Janson and Halaas constantly entwine in both humorous and tragic instances.  Each are set on one thing, discarding the treacherous character of Lelio.  And both display exotic beauty, Halaas in her barefoot seductive movements and Janson with her bewitching indistinct manner.

As one of the two sidekicks in this loving adventure, Nathan Keepers breaks out as a force to be reckoned with, portraying the all too flamboyant servant, Arlequino.  Run ins with a starkly opposite Trivelin, played with a prickly bitter air by Cutler, provide for many of the biggest laughs.

The outward appearance of The Deception should be appreciated just as much as the fine performances, as Sonya Berlovitz's white flowing costumes establish a stark contrast to the darkly deceptive plot.  Along with fractured lighting by Marcus Dilliard, Serrand's overall vision is finely in tune.

Physical movement and masterful dialogue is a winning combination in The Deception, and hopefully its French charm is not lost on American audiences.  Performances continue at the La Jolla Playhouse through August 19, 2007.  Tickets range from $28 - $60 and can be purchased by calling 858-550-1010 or online at www.lajollaplayhouse.org.  The theatre is located at 2910 La Jolla Village Drive, La Jolla, Calif. 92037.

Photos by J.T. MacMillan - (1) Merritt Janson as The Chevalier and Emily Gunyou Halaas as The Countess.  (2) Merritt Janson and Emily Gunyou Halaas.  (3) Casey Greig and Emily Gunyou Halaas.

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