Walls, screens, doors, and traps enclose the many scenes created all over the stage in L'Avare ("The Miser"). The setting is both physically and metaphorically appropriate for a play in which almost everyone is hiding something. As individuals or couples, they're also wrapped up in themselves and cut off from care about others. As for the anti-hero, descendants Scrooge and Silas Marner were philanthropic compared to Harpagon. And he never changes from being, surely, literature's most avaricious character.
Yet Moliere's genius also makes him comic, improving on the very funny scene from his Plautian source, where Valere recounts his love for the daughter of Harpagon, who can only think it must be his money the young swain speaks of. From his/Gerard Giroudon's entrance, coming down center drably dressed and coughing, he might be a medieval satanic figure, seeing hands surrounding him to grab his wallet.
As one might expect from director Serban, Valere (Eric Ruf) and Harpagon's daughter Elise, introduced in dishabille, share a sexy kiss before being interrupted by her brother Cleante (Eric Genovese). Impoverished and in debt (to Harpagon, it turns out) he's in love with Mariane (Celine Samine, made Marilyn Monroe look-alike, leading with her bosom). His father is also his rival, coveting Mariane's dowry while planning to marry Elise off to a rich, generous widower who won't demand one.
In all there are two sets of lovers in which each woman is desired by an older man whose son secretly loves her. Of course, none of the intrigues would be possible without the cooperation of menials. Bruno Raffaelli's Maitre Jacques is wily to perfection as Harpagon's broker who wears many hats and, like Muriel Mayette's clever go-between Frosine, profits from helping reverse Harpagon's fortunes.
I'm beginning to miss the days when one could see a period play, like Moliere's, done in its time and dress. Here I regret not seeing the kind of clothing I think would have contributed so to Cleante's important debts. However, given a scenic style that emphasizes stark realities both universal and, unfortunately in the instances of greed and self-interest, specifically observable in these times, I find Serban's modern production fully justified. Intelligently played and interesting too, as pleased audiences attest.
Truly memorable is the frantic search in which Harpagon pops up from and plunges down into the stage's entrails, one trap after the next, thrusting forth his lantern to recover his stolen money-box. I will miss that in any future productions I see.
