The old proverb says, “The love of money is the root of all evil.” For French playwright Moliere, the love of money is also the root of comedy, particularly in The Miser.
Presented by the Red Masquers of Duquesne University, director (and designer) John E. Lane, Jr. has transported this classic comedy from France in the 1600’s to New York City in the 1920’s. This change results in a very handsome production.
Lane’s set is simple but lends itself beautifully to the action. There is a black-and-white checkerboard floor, black walls with sconces and yard-upon-yards of red chiffon. An old-fashioned stock ticker and mounds of ticker tape grace the edges of the set.
As a director, Lane has imbued the production with a great deal of physical humor and downright slapstick comedy. It definitely reaches its most sublime with Daniel Jones as the Irish brogues Magistrate. Jones (with Lane) wrings all the humor possible from a set of handcuffs!
Jay Keenan is wonderfully funny as Harpagon, the tight-fisted miser. Keenan cuts a dashing figure in his tail coat and truly shines when he brings the audience into his confidence with his asides. Keenan, too, proves himself adept at the physical comedy.
The production can be uneven, though, with all the performers not playing at Keenan’s level.
Sarah Weisel does a very amusing character turn as Maitriss Simone, and Jacob Wadsworth scores laughs with his slow-witted servant Brindavoine.
I had some apprehensions going to see a “classic,” but this production of The Miser blew the dust off all my misgivings.
The Miser closes February 18.
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