Le Misanthrope @ La Comedie Francaise

Last night's rendition of Molieres' Le Misanthrope at the Comedie Francaise was the 2286th performance since the addition of the play to the repertoire of France's only national theatre in 1680. Plays at the Comedie Francaise are typically an interesting mix of classical and modern with always an emphasis on extensive dramaturgical research and almost always incredible sets. At least the plays I have seen there all fell under this description in one way or another.

Lukas Hemleb, German director of the current production, stayed in the confines of a minimalist design, with gorgeous period costumes and simple wash lighting. The interesting part, at first glance, was the use of scrims as backdrops, causing a transparent wall effect when backlighting was used. The excellent lighting and set choices, paired with the sudden appearances of cast members at given moments behind the walls gave the play a feeling of the walls having ears and even becoming another entity present in the scenography. The only set pieces were two short cushioned stools which were at different moments sat upon, kicked across the room, used as blocks or walls, and in one breathtaking moment, taken and thrown upside down upon the stage in anger. While it is easy to incorporate everything present when the set is so minimalist, the use of the surroundings and the blocking made the stage often seem a much more complete image. The integrated element of dance made for a smooth and diplomatic play, although, having seen and read it, I would have to say it is much more of a commentary than a comedy.

I admire the fact that the director was not afraid to make his actors take time and properly deliver each line, and allow for pauses; however, the play ran on so long that I was having a hard time paying attention by the end. All in all, I would say that this staging of Le Misanthrope was a success, if not, as subtitled, a comedy. The few funny lines were often muttered or flattened by an excessive pause and the rather obnoxious laughter of the characters was certainly not contagious. I would have recommended a speed through or two to put some life back into the melodramatic staging.

« Non, mon cœur à présent vous déteste, Et ce refus lui seul fait plus que tout le reste. »