SOMEONE OUT THERE must love 18th century comedies written by dead Frenchmen. Not me. I've grown accustomed to 20th century in-your-face directness, and all that polite, evasive, albeit clever, dialogue that was so charming in 1738 is now tiresome.
Every play has a mixture of wily or stupid servants, a mistress whom everyone adores, one physically undesirable but rich wooer, and a handsome but unsuitable suitor, each with a secret plot working against the others to get the girl or the money or the land. The situation is only moderately interesting, and I find that I don't very much care who wins. In fact, just once I'd like that disgusting rich fellow to walk away with the girl, the money and the land. But of course, good and happiness prevail and true love wins.
At this point, even men in pedal pushers and tights with powdered wigs and painted faces can't help, as they mutter supposedly funny lines like, "Your looks are a gold mine," and "She'll be so exhausted, she'll have to marry you."
With this attitude, I obviously had no intention of enjoying myself at Arizona Repertory Theatre's production of False Admissions, written by Pierre Carlet de Chamberlain de Marivaux and first produced in Paris in 1737. And believe me, I tried not to. While those around me emitted peals of laughter, I sat stoically, refusing to succumb to a production that I already knew to be insipid.
But they wore me down. Before I knew what was happening, I found myself slightly amused, then a little more amused, then downright entertained. I even let out a chuckle or two, and at least once, I laughed right out loud.
False Admissions has everything I've described above. Dorante, a poor but handsome steward, has plotted with his faithful servant, Dubois, to win the heart of the beautiful mistress, Araminte. Conveniently and fortunately for them, Dorante's uncle, Monsieur Remy, just happens to be employed as the lovely widow's solicitor, and he's able to get Dorante a job. (Dubois has already weaseled his way into the house in some servile manner.)
Meanwhile, the wicked mother gathers her retinue to ensure the marriage of her daughter to Le Comte, a wealthy but otherwise repulsive landowner. This agrees with Marton, servant of Araminte, because she intends to marry Dorante herself. Like I said, the plot isn't exactly brimming with enticing possibility.
Consequently, the play relies on flawless comedic timing combined with superb pantomime acting. Director Daniel Yurgaitis and his cast of eight UA students supply both. The ideally-timed averted glance or flutter of the fan is critical to the play's success, as is the constant movement on stage. In the UA production, each gesture is executed precisely at the right moment, with perfect emphasis.
The humor is especially elevated when Greg Lambert enters the scene. With a zest for the character of Dubois, he carries the comedy with animated facial expressions and funny body postures. Tim Noble also captures the comedic qualities of his character in his portrayal of Monsieur Remy.
Samantha Dunn (Araminte) and James Elmore (Dorante) are charming and convincing as innocent love personified, and Perry Crafton is pleasingly silly as Le Comte.
Against a terribly mediocre scene design with somewhat awkward lighting, the remaining actors, Carrie Lee Patterson, J.J. Cobb, and Matt Lincoln perform equally well.
Timberlake Wertenbaker's contemporary 1983 translation of False Admissions adds to the easy digestion of this production.
Arizona Repertory Theatre's production of False Admissions continues at 8 p.m. through April 15, with 2 p.m. performances on April 15 and 16. The production is performed in the Peter Marroney Theatre, UA Fine Arts Complex, Speedway east of Park Avenue. Tickets are $14 and $12 for adults, $12 and $10 for seniors, UA and state employees, $10 and $8 for students. For reservations call the Fine Arts box office at 621-1162.
 |
 |
© 1995-97 Tucson Weekly . Info Booth |
|