Review: The Misanthrope (Court Theatre)

By Chicagotheaterbeat @chitheaterbeat

  
  
The Misanthrope 

By Molière, Translated by Richard Wilbur
Directed by Charles Newell
at Court Theatre, 5535 S. Ellis (map)
thru June 9  |  tickets: $45-$65   |  more info
  
Check for half-price tickets 
  
  
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Ain’t nothing like the real thing, baby!

     

  

Court Theatre presents

  

The Misanthrope

Review by John Olson

This is in a sense the year’s second visit to Chicago of Molière’s The Misanthrope.  Chicago Shakespeare did David Ives’ “transladaptation” of it – The School for Lies - earlier this year. While Ives’ version used contemporary American English in his verse, Richard Wilbur’s 1955 translation as used here in Charles Newell’s production is every bit as accessible and even funnier. In truth, it’s not fair to make too much of a comparison between the two. Ives took the characters and basic premise of The Misanthrope – that of a man who rants against the false and hypocritical civility of 17th Century Parisians – and fashioned a new plot. The only point in comparing the two is to urge audiences who saw Chicago Shakes’ School for Lies not to skip Court’s The Misanthrope.  One of two plays in the Court’s “Molière Festival” (Tartuffe opens next month), it delivers broad, yet smart comedy with a heavy dose of wisdom and emotional punch.  And for those Court fans who have only seen actors like A.C. Smith and Allen Gilmore as troubled characters in the plays of August Wilson, it’s a revelation to see what accomplished comic actors these men are.

Erik Hellman is Alceste, the misanthrope of the title. He decries the false lavish praise those of high society give to each other, while they privately stab each other in the back. But he’s deeply in love with Célimène (Grace Gealey), a flirtatious 21-year-old woman who has four suitors vying for her affections because of her beauty and her willingness to tell them all what they want to hear. Alceste knows this of his beloved, but he is willing to overlook it, even though he himself is so committed to honesty that he must tell the powerful Oronte (Smith) that the love sonnet he has composed is awful.  Oronte is so powerful that Alceste’s criticism gets him into legal trouble (and perhaps you can imagine the nightmare scenario that suggests for those of us who publish criticsm of the arts). Hellman’s Alceste is earnest and passionate, with a sense of humor himself.  His sincerity gives the play a grounding and significant stakes, while the self-delusions and insincerity of the nobles around him stand out in relief to Alceste’s integrity.

Ms. Gealey’s Célimène is flirty, pouty, sensual and sexy. And while the whole cast delivers Wilbur’s translated rhymed verse with conversational ease, Gealey comes off in a particularly contemporary manner, staying true to the material but allowing us to connect to her character as easily as if this were a present-day romantic comedy. Gealey has true star quality in this role – we can’t help but be as drawn to her as the suitors. Smith is big and blustery as Oronte – egregiously un self-aware as he reads his sonnet to Alceste and the others. Decked out in a flowing robe and jewels (one of many such gaudy costumes in a black and gold color scheme designed by Jacqueline Firkins), he’s hilariously and lovably pompous. Troy Maxson (the tragic character A.C. Smith played in the Court’s Fences) is funny? You bet.  He may be one-upped though by Allen Gilmore’s portrayal of Célimène’s older rival Arsinoé, in drag. The tall and stately Gilmore gives Arsinoè a Margaret Dumont-like presence that makes it absurd to suppose she could compete against the incredibly sexy Gealey for Alceste’s affections.  Travis Turner and Michael Pogue play the effeminate and foppish marquesses Acaste and Clitandre, who also compete for Célimène’s hand with a sassy sensibility that would be right at home on “RuPaul’s Drag Race”. The earnest Philinte, Alceste’s friend who is in love with Célimène and the sweet Éliante, Célimène’s cousin who carries a torch for Alceste are played sensitively by Kamal Angelo Bolden and Patrese D. McClain. Elizabeth Ledo and Desmond Gray round out the cast as servants, who, though they have few lines, punctuate Newell’s sharp satiric tone in many key moments.

Played out on a simple, yet elegant set by John Culbert, Newell’s production is both entertaining and respectful of the piece’s classic status and heritage. He and the same cast will be back on June 20 with a Tartuffe set in the Court’s neighborhood of Hyde Park/Kenwood. I hope to be back for that one as well!

  

Rating: ★★★½

  

  

The Misanthrope continues through June 9th at Court Theatre, 5535 S. Ellis (map), with performances Wednesdays and Thursdays at 7:30pm, Fridays at 8pm, Saturdays at 3pm and 8pm, Sundays 2:30pm.  Tickets are $45-$65, and are available by phone (773-753-4472) or online through their website (check for half-price tickets at Goldstar.com). More information at CourtTheatre.org.  (Running time: 2 hours 20 minutes, includes an intermission)

Photos by Michael Brosilow 


     

artists

cast

Kamal Angelo Bolden (Philinte), Patrese D. McClain (Eliante), A.C. Smith (Oronte), Travis Turner (Acaste), Elizabeth Ledo (Basque, DuBoise, Guard), Michael Pogue (Clitandre), Grace Gealey (Celimene), Allen Gilmore (Arsinoe), Erik Hellman (Alceste), Desmond Gray (Guard, Colin).

behind the scenes

Charles Newell (director), John Culbert (scenic design), Jacqueline Firkins (costume design), Keith Parham (lighting design), Andre Pluess, Josh Horvath (sound design), Drew Dir (dramaturgy). Donald E. Claxon (stage manager), William Collins (production stage manager),  Larry Norman (Molière scholar), Michael Brosilow (photos)

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