Sixteen Sixty Eight: The Miser
Moliere, the professional name of a French playwright who wrote and produced his first play at the tender age of twenty-two, wrote dozens of plays, brilliantly. That his work was not always well received by his contemporaries during the 17th century is not unusual. Geniuses are seldom appreciated by those around them. His own personal history is often dark and bitter, yet after many false starts with tragedy and drama, Moliere found his forte in comedy. His plays threw barbs at hypocrites and boors; and let anyone cross him, he might find himself being a victim and the target of vicious humor in a play. Yet, his genius was evident in his own time and the gift of his talent has come down to us these many centuries later.
Arena Stage's "The Miser" is a brilliant example of adaptation and translation into the modern vernacular by John Strand. The play takes place somewhere in America in a shabby house surrounded by gardens. Harpagon, played by veteran actor Henry Strozier, is the stingiest man in the world. If he has guests and has food served, he will tell his manservant to return the uneaten portions to the vendor from which it was purchased and ask for the money to be refunded.
He walks around day and night in a shabby dirty bathrobe, with equally disreputable pajamas and slippers. The furniture is not only old, it is tattered and torn. Although he has people working for him, they are so poorly paid, if paid they are, that they too are dressed in rags. He has a son and daughter, for whom he will do nothing, just give them a roof over their heads and food to eat. His son Cleante (Matthew Rauch) and his daughter Elise (Holly Twyford) are in love; he with Mariane (Jennifer Abigail Lopez) and she with Valere (Henry Martin Leyva). The two want to marry but none of the four has any money and are hoping the old man will be generous and help them. Harpagon confides in his son that he plans to marry--the girl he has selected, or who has been selected by him by the matchmaker Frosine (Franchelle Stewart Dorn) is none other than Mariane herself.
Harpagon has a fortune buried in the garden, and has security TV's all over the place. He is suspicious of everyone, thinking they are all plotting to rob him. There are numerous funny scenes with LaFleche (Sarah Marshall) who is a servant of sorts, and Jacques (J. Fred Shiffman), Simon (Marty Lodge) and Claudia (Tana Hicken), as they cavort around attempting to do their jobs but always one step away from being kicked or abused by the old man. Frosine's funny scene occurs when she brings Mariane to meet Harpagon, and Mariane realizes the son is the man she loves. Later Anselme (Richard Bauer) arrives, and it is revealed that Valere and Mariane are his children and Claudia is his wife; they were all escaping from Cuba in a boat when the boat capsized and it was assumed that his family died, only he escaping death by drowning. This turn of events unites the family and brings the lovers into each other's arms.
The play is cleverly presented, sharp and fast-paced, but one must make a leap of faith to believe first that this plot is viable in the 20th century--that a 17th century French play can have any sort of logic in today's environment; and that any of it makes sense. Yet it is so hilariously funny, one doesn't seem to care that there isn't a shred of logic. The man has sixteen television sets but sends uneaten food back to the foodmonger? Unaccountably and without the slightest bit of logic Naomi Jacobson in the person of Nancy Reagan appears for a brief moment on stage. So okay. Who needs logic?
The advice from here is go see the play, if only to catch Sarah Marshall in a trenchant portrayal of an outspoken servant. She's a gem. And so is Franchelle Stewart Dorn who possesses more stage presence than any actress could ever need. And two lovely ladies--Jennifer Abigail Lopez and Holly Twyford. And two masters of the theatre--Richard Bauer and Henry Strozier. They surely had fun doing this, and so will you. -- Sylvia S. Cutler, October 12, 1996