THE BASICS: This 17th century feminist French comedy by Molière in a Richard Wilbur translation presented by the Irish Classical Theatre Company runs at the Andrews Theatre, 625 Main Street in Buffalo through October 6th. The show runs 1 hour and 25 minutes including one 15 minute intermission -see Facebook.
THUMBNAIL SKETCH: The play takes place in two homes in 17th century Paris, but the sets are so minimal that the locale really doesn’t matter that much. The characters are stock types from the old Italian “Commedia dell’arte.” Two brothers, 40 year old Sganarelle and 60 year old Ariste, have been guardians for years to sisters, Isabelle and Léonor, now grown to marriage age. The wily Isabelle has been chafing under the rules of Sganarelle who has fallen in love with his ward and plans to thwart her blossoming affair with young Valère and marry her himself. Through quick thinking and a series of ruses, Isabelle not only evades the advances of her older “protector” but actually uses him to further her courtship. Women in particular loved this play in 1661.
THE PLAYERS, THE PLAY AND THE PRODUCTION: It’s always a treat to see veteran ICTC actors Christian Brandjes (as the foolish old man with designs on a woman half his age) and Gerry Maher (as the very reasonable, if somewhat foppish dresser) Ariste. These two are masters of their craft, and even though the play is in rhyming couplets, which is hard to pull of without sounding sing-song, I completely forgot that they were actors and simply accepted their roles.
Not quite at their level yet, but very competent, and very vivacious, Kay Kerimian played the clever Isabelle with commendable consistency. Bringing a play forward 350 years and going for big 21st century laughs can make an actor break character and Ms. Kerimian stayed in character. Give her time and she’ll be right up there. Pretty much those three leads have 90% of the lines and time in the spotlight. While they are on the slightly raised circular platform in the center of the Andrews very intimate theatre in the round, the other players sit on chairs on the perimeter. Like the corps in a 19th century ballet, they must be on stage, and be engaged, but not intrude. A difficult skill.
Not only are the roles very lopsided in terms of time, but so are the acts. It seemed to me that the play might have been done straight through for and hour and ten minutes without intermission, so short was Act II. Most theatre goers might expect that the second act will be slightly shorter than the first, but not that much shorter.
Some notes on the other players: Angie Shriner as Léonor took full advantage of her few moments center stage and offered an illusion of normalcy to the comedy swirling around her. Nicely done. Jessica Stuber, as Lisette, Léonor’s maid, was fine. Kevin Craig, as Ergaste, valet to Valère, was too over the top for me, but perhaps that’s what director Fortunato Pezzimenti wanted. My only disappointment was Matthew Nerber, as Valère, the love interest. His physical comedy is fine and he moves quickly for a very tall person, but his acting reminded me of a talented high school player.
Costume designer Ann R. Emo, presumably in collaboration with Director Pezzimenti, outdid herself. In the play, there is an extended scene in which the younger brother (Brandjes) criticizes his more stylish older brother (Maher) of being a slave to fashion, and as he calls out each item of clothing, it’s hilarious to contrast what Molière has written with what Jerry Maher is actually wearing, including his elegant “slippers” which upon inspection are Converse All-Star sneakers in two different colors.
By the way, you don’t have to even have heard of “Commedia dell’arte” to enjoy the play, but if you Googled that phrase and spent 10 minutes learning about this important aspect of theatre history, it might add a dimension to the play to make it more memorable.
Lead image: Kay Kerimian and Christian Brandjes
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!