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CurtainUp The Internet Theater Magazine of Reviews, Features,
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A CurtainUp DC Review
School for Lies
The brilliant playwright/translator/adaptor David Ives has transformed Moliere's 1666 Le Misanthrope into a costume comedy with contemporary language (dude, lol) in rhyming couplets, no less. What a wonderful imagination to rhyme "penis" with "subpoena." The dialogue is so fast paced at times that a word or three can easily be missed as the audience regains its composure after the last laugh. While the original Misanthrope was a comedy of manners, critiquing hypocrisy, slander and the ways of a frivolous society, The School for Lies, takes the plot a bit further— with language that is decidedly current and physical, farcical comedy. There's a sight gag repeated so often you know what's coming but laugh anyway. Gregory Wooddell is splendid as Frank (Alceste in Moliere's original) by explaining that he lives up to his name, that he will tell it like it is not in French but in colloquial 2017 English. Joining Frank are three suitors of the young and beautiful widow Celimene, played with the grace of a ballerina until she let loose by doing hilarious impressions of her suitors by Victoria Frings. They are Clitander (Cameron Folmar) who has influence or so he thinks in high places, Acaste (Liam Craig), a rich marquis, and Oronte (Tom Story) as a would-be poet. Their magnificent 17th-century style clothing belies the fact that, even though they are referred to as clowns, the trio makes those of a certain age think of the Three Stooges. Individually and collectively they do not fail to bring the house down. As for the ladies, Celimene is a woman of the world. Her virginal,shrill-voiced cousin Eliante (Dorea Schmidt) comes close to losing it in another scene of love interrupted. But the lady to look out for — in more ways than one— is Arsinoe, who is described as "a moral pillar" which is a joke. Veanne Cox, who can always be counted on to make any part she plays memorable, gives a great performance. "I never gossip. I just report," says Arsinoe, whose contemporary counterpart can often be found at a Georgetown dinner party. Arsinoe, like the suitors three, wears a garish wig that adds to her hautiness. Her gown and those of Celimene and Eliante are exquisite in every detail. The men too are dressed with great flourish -- Acaste in lush maroon velvet; Oronte in an exaggerated poet's blouse. Murrell Horton is responsible for the costumes (and presumably the outlandish wigs). His artistry adds much to the production. So does Alexander Dodge's set, that is adorned with a Jeff Koons-like balloon dog in a gilded cage, a cherry in a spoon sculpture redolent of Claes Oldenburg's massive sculpture and a bright red lip-shaped sofa in what might be an elegant salon. Editor's Note: Mr. Ives' clever adaptation has enjoyed a lot of lives in prestigious theaters and the response is, invariably, as enthusiastic as Susan Davidson's. |
PRODUCTION NOTES The School for Lies adapted from Moliere's Le Misanthrope by David Ives. Directed by Michael Kahn Scenic Designer, Alexander Dodge Costume Designer, Murell Horton Lighting Designer, Mark McCullough Cast: Gregory Wooddell (Frank); Victoria Frings (Celimene); Dorea Schmidt (Eliante); Cody Nickell (Philinte); Veanne Cox (Arsinoe); Cameron Folmar (Clitander); Tom Story (Oronte); Liam Craig (Acaste); Michael Glenn (Dubois/Basque). Running time: 145 minutes, no intermission. Shakespeare Theatre Company, Lansburgh Theatre, 450 7th Street, NW, Washington, DC. ShakespeareTheatre.org; 202-547-1122; May 30 to July 9, 2017; Review by Susan Davidson based on June 5, 2017 performance. Click on the address link E-mail: REVIEW FEEDBACK Highlight one of the responses below and click "copy" or"CTRL+C"
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