Review: Molière's 17th Century Satire Is Given a Modern Makeover In The Hilarious New Adaptation of THE MISER

Wednesday 6th March 2019, 7:30pm, The Playhouse Sydney Opera House

Bell Shakespeare starts off the 2019 season with Justin Fleming's hysterical new adaptation of Molière's THE MISER. Directed Peter Evans (Bell Shakespeare's current Artistic Director), this wonderful piece of theatre also sees the company's founding Artistic Director John Bell return to lead the strong cast as the miser Harpagon.

Whilst some adaptations and restaging of old works are pretentious and stuffy this new treatment of Molière's THE MISER is anything but. Fleming, who has adapted a number of Molière's works for Bell Shakespeare has blended Australian and contemporary turn of phrase with an allowance for more relaxed sensibilities to present a new text that incorporates a subtle but no less clever poetry, free of pretention, full of laughs but not missing the weight of the underling social commentary. As with Fleming's merging of old and new worlds, Evans has taken the same tack with his vision for the work, reinforced with Anna Tregloan's design. Costumes meld the powdered wigs embroidered coats of bygone eras with more contemporary styles from the 30's to the modern day reimagining of vintage wear by the current day hipsters.

The work centres on the middle class widower, Harpagon, and his two children Élise (Harriet Gordon-Anderson) and Cleante (Damien Strouthos). In an effort to secure his fortune, much of which he has buried in his garden, from his spendthrift son and apparently idle daughter, Harpagon has prepared for both to be married off to wealthy older spouses. He has also cooked up the twisted plot to raise his own profile by securing the hand of the much younger Mariane (Elizabeth Nabben) in a marriage agreed to with the girl's mother. The problem is that, unknown to him, both offspring have formed their own attachments but they know they won't meet daddy's approval since they don't bring any wealth to the table. The web tangles as Cleante's secret love is Mariane and Elise's object of affection is Harpagon's trusted employee Valère (Jessica Tovey).

The events, which span a single day, all take place in Harpagon's sitting room which Tregloan has presented as a minimalistic elliptic space lined with heavily burled blonde-wood timber, 4 black doors and fronted by vintage shell footlights. The only furniture is a plush turquoise chaise lounge and a series of glass cube terrariums, all of which are rearranged between Acts by the ensemble with vaudeville style physicality. The costumes range in styles and add a lot of colour to the work whilst heightening the vaudeville exaggeration of the work. Harpagon's frugal fallback style of well worn brown trousers and discoloured undershirt are a contrast to his 'courting' attire of gold rhinestone slippers and gold jacket and toupee, all designed to impress Mariane but failing dismally. Young socialite Elise is a more contemporary confection in various textures of pink with an accent of a forest green camisole whilst brother Cleante adopts an older world style of teal wig and applique velvet jacket. Valère is presented in a prim 1930's blue A-line skirt and buckle shoes, drawing a parallel with Grace Farrell, Daddy Warbucks faithful assistant in ANNIE whilst servant La Fleche's loyalty to Cleante is echoed by his attire echoing the younger man's with powdered wig and snappy green suit. The vaudeville influences also extend to Max Lyandvert's sound design and musical compositions that colour the comic capers and Matt Cox's lighting design emphasises the mysterious moments with looming shadows.

The performances are all well-crafted with the cast landing lines with perfect comic timing and presenting the slapstick physical humour with effortlessness. Acclaimed theatre veteran Bell is incredible as Harpagon, capturing the bitter greedy grump perfectly as he shuffles around trying to secret his stash of money in his garden boxes whilst holding everyone (including the audience) in suspicion as he breaks the fourth wall to address them directly. His transformation into what he's been told will entice the young Mariane is highly amusing as he morphs into a sleazy old man, spurred on by matchmaker Frosine (Michelle Doake).

Harriet Grodon-Anderson ensures that Élise is seen as a petulant child used to having attention but also having a progressive mind that wishes to break from conventions and marry her lesbian lover rather than the old man her father has selected for her. Tovey captures Valère's self-preserving cunning as the trusted advisor using her position to manipulate Harpagon into thinking she means well for him yet trying to steer him to an outcome that would suit herself and Élise.

Strouthos is given more to work with as Cleante isn't bound by as many of the antiquated social expectations as his sister and has a little more ability to potentially control his destiny, leading to more variety in his performance. He expresses Cleante's vanity well whilst also making it clear that at times he finds it a relief to drop the façade. His interaction with O'Shea is wonderful as Cleante and La Fleche scheme a way to secure the Mariane before his father can marry him off. O'Shea has a brilliantly expressive face, further highlighted by the white powder makeup of the 17th century.

Doake delivers a hilariously over the top Frosine as she flirts with the audience and convinces Harpagon that he stands a chance with Mariane. Seemingly drawing influence from Monty Python's Ministry of Silly Walks she ensures that the matchmaker holds her own against the Miser. Jamie Oxenbould is delightfully droll as Master Jacques adopting different personas for the dual role of Cook and Coachman. Russell Smith presents an oily broker Master Simon and an officious and bewildered Commissioner of Police. Elizabeth Nabben warms to the role of Mariane, giving a brilliantly over the top wide eyed expression.

Still holding a relevance in its statement on love and greed THE MISER is wonderfully presented with a contemporary Australian sound and easy style. Although no names are mentioned, the work remains relevant as Harpagon can be seen in the 21st century megalomaniacs who value money and power over humanity and compassion. Whilst we think much of the outdated ideas of marriages for wealth preservation the strategies pairings probably still happen as well.

A great piece of entertainment and showcasing of fabulous performances, THE MISER also holds useful reminders to avoid falling into the pathetic pit of which Harpagon finds himself. Well worth catching.

https://www.bellshakespeare.com.au/whats-on/the-miser/

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