Supposedly a contemporary play, La Bete is written in rhymed couplets and with many references to Moliere, his company, and his times. In Asolo Rep's production, it takes place in a Dorothy Draper-baroque style grand hallway of the home of Prince Conti
(earnest Jud Williford). Cartoon-inspired paintings of Shakespeare and Moliere look down from side walls.
The prince has asked the head of his sponsored classical royal theater company, Elomire (anagram for Moliere), with his troupe, to take on a popular street clown-comedian. That vulgar character, Valere (vigorous, aptly over-the-top Danny Scheie), takes command in a 45 minute monologue (clocked 50 on opening night). It attempts a rationale for himself and the contribution his fooling can make to the glory of prince and players.
Valere stages two funny performances to prove his worth and that of his "art." Each gets a very different reaction from Elomire's company (whose actors join in the second presentation) and from Conti himself. Although Elomire doesn't get a chance to present his own art (a blatant defect of this play), there's a conclusion that favors one of the antagonists. The blending that results is supposed to be relevant to theater of yesterdays and now.
What is truly modern is that La Bete seems mostly to exist as an excuse for a tour de force centerpiece by both actor (in performance) and writer (in verse composition). Credit is due both, especially Scheie. Also laudable is the director's getting from all the actors oral interpretation of the poetry that avoids sing-song and is delivered as much as possible like natural speech. On the other hand, much of the rhyme is forced, as is the content. Elomire is right in pointing out' "impoverishment of thought" in Valere's plays. Still -- maybe I should say "no wonder" -- they get a lot of laughs.
It's unclear why playwright Hirson references Moliere as identifying only with (maybe as) The Misanthrope. So many of the classical playwright's works, evolved from the popular commedia, contain farce, buffoonery, and clownish characters. Yet, for example, the comic Bourgeois Gentleman and Scapin are artfully drawn, not forced in action or speech. Similarly, Shakespeare, whose portrait in this production links him with Moliere, created memorable clowns. And no one can rightly accuse this "classical" great of not seeking and winning popularity from the people in the pit!
Despite Hirson's painting Elomire as somewhat of a stubborn stick, dignified Bryan Torfeh commendably derives as much sympathy as possible for his point of view, and for Elomire's situation. To allow him to score some points against Valere, Hirson has Valere ridicule Elomire's assistant Bejart as a hunchback. Douglas Jones strongly plays that weak man.
The supporting actors acquit themselves well as members of Elomire's company or as servants. Voices could stand a bit more sound amplification unless directed in more scenes or from a side box (used by the prince) toward the audience.
Brandin Baron's costumes range from Valere's daffy damask-ish duds to Elomire and his company's tuxes as well as gowns of luxurious fabrics and color. Plexiglass furnishings in the grand hall are stunning.
Asolo Rep's production is of the first version of Hirson's play, not his revision that recently appeared on Broadway.
