Justin Fleming‘s latest foray into Molière comes in the form of The Misanthrope. But more fool you if you go into this production expecting traditional French farce.
This new version of an old play, while it follows the original story, has been subject to some fairly significant gender-bending. Not all of the characters have been altered though, you understand. Here’s where it gets complicated.
Alceste, the titular misanthrope originally written as a man, is torturously in love with pop star Cymbeline (originally the female Célimène), who in turn flirts outrageously with his other suitors (who remain male as per the original text). Alceste’s dearest friend Phillippa (was Philinite – male) looks on as she is loved from afar by Eleanor (was Éliante – still female) and the scene is set for a complex tale of love and lies.
What Fleming’s adaptation does is create a gender fluidity that should open minds and eyes to the construct and constraints of traditional texts. It also highlights Fleming’s spectacular ability to translate Molière’s French into contemporary Australian vernacular, whilst retaining the rhyming couplet structure throughout. Quite the feat, and evidently no easy task for the actors.
At the heart of the drama is the utter fear these characters hold for damage to their reputation. But that doesn’t hold stead here. In this day and age, where there’s a new scandal brought to light and dealt with every 5 minutes, this fear makes connecting with these characters very difficult. We are asked to believe that their greatest fear is the exposing of their promiscuity, and that it would be their ruin. Yet, set with a backdrop of the 2018 music industry, it’s hard to believe this would be anyone’s main concern. And Alceste, so strong and sure of herself, would surely just go and find another man after finding out the one she loves is flirting with others. It’s a big ask to believe these stakes. Too big.
Danielle Cormack is a charismatic Alceste, but struggles to keep the text light. Alceste’s despair becomes infuriatingly laboured and unbelievable. Ben Gerrard is suitably vacuous as Cymbeline, but really only finds his stride in one scene opposite Simon Burke. The two play off each other well. Rebecca Massey is a convincing Phillippa, with probably the strongest handle on the style and text. Catherine Davies‘ fragility is captivating as Eleanor, and she plays her connection to Massey’s Phillippa beautifully.
The glamour of this production is realised wonderfully by designer Dan Potra. A cluttered stage is slowly cleared as the characters’ walls are broken down, and the costumes are suitably slick and modern. Find me a woman who wouldn’t want to wear Cormack’s green velvet suit.
With unbelievable stakes and a confusing setting, Bell Shakespeare‘s latest makes for an interesting night at the theatre. Go for the script and the costumes.
Alana Kaye – Theatre Now
The Misanthrope
Justin Fleming after Molière
28 Aug-28 Sept 2018
Preview 28 – 30 August
Opening Night 31 August
Season 1 – 28 September
Previews 7.30pm
Season
Tuesday & Wednesday 6.30pm
Thursday & Friday 7.30pm
Saturday 2pm & 7.30pm
Sunday 4pm
Extra Matinees
Wednesday 5 September 1pm
Wednesday 12 September 1pm
Venue: All performances take place at the Playhouse, Sydney Opera House
Theatre Company: Presented in association with Griffin Theatre Company
Duration: 2 hours, 40mins including interval
