The Bourgeois Gentilhomme
In these troubled times, it’s great to have an out-and-out spoof while away the time. In this 17th Century comedy, written on demand by the celebrated Moliere for a court entertainment, the barebones of commedia dell ‘arte are apparent, translated with a French accent. In 1670, when the King was so enthralled by the Turkish delegation, that he requested the creation of a ballet-interlude incorporating their exotic forms. With the help of the composer, Jean-Baptiste Lulli, Moliere constructed a comic romp that very subtly lampooned the manners of the Turks.
Monsieur Jourdain (Jeff Atik) is an upwardly mobile merchant, woefully unskilled in the all-important social graces of the French capital, who falls in love with Dorimène (Deborah Knox), a lovely and graceful Countess. He employs a great number of penniless aristocrats: a pompous dance master (Matt Cook) and a snobbish music master (Michael Galvin), along with a philosophy master (Trace Taylor) who points out, for example, that between poetry and prose, the Monsieur has been speaking prose all his life. None of these, however, make the least dent in his rough manners, as his pragmatic wife (Ruthie Crossley) points out.
In this play, the character of Mdme. Jourdain joins the maid, Nichole (Cynthia Mance), and two valets (Ken Rudnicki and Max Molina) as traditional commedia characters who comment on and complicate the action. As usual, the simple plot, with Jourdain’s daughter Lucile (at this performance, Jessica Madison) and Clèonte (Garth Whitten) as star crossed lovers, provides the scaffolding upon which to hang the high jinx, as the penniless Count Dorante (a delightful Troy Dunn) woos Dorimène right under Jourdain’s nose.
With her signature attention to detail, Frederique Michel has brought the play to life. Michel has directed the action in quintessential French farcical style, employing an intricate system of walking and talking that can be stilted at times, but when used for comic effect, greatly enhances the mayhem. Although it is a bit unnerving to have a clownish buffoon (Atik) cavorting at the same high energy throughout two acts, Michel makes it plain that character development is not to be emphasized here. She concentrates, instead on clean, clear stereotypical personas. The action never stops, veering from pratfalls to clever bon mots. In particular, Dunn and Knox as the glamorous Count and Countess meet and depart, gliding in a stylish minuet, sharply contrasting with other characters’ rough and tumble.
Unfortunately, not all of the actors seem equally comfortable in the style. Excellent comedic timing is so important that it is noticeable when the ensemble is off-kilter. But it just may be they are shaking off residual holiday ennuí, and they will enhance the timing as the next weeks unfold.
Managing Director Charles Duncombe collaborated on Michel’s original translation, and along with John Gregory Willard, provided lyrics and incidental music. Duncombe also provided serviceable set and lighting design with hilarious costumes, especially for Monsieur Jourdain, created by Josephine Poinsot. Paul Rubenstein did the sound design, deftly interweaving original and recorded music.
The Bourgeois Gentilhomme extends Saturdays at 8:00 PM and Sundays at 5:30 PM through February 22nd, 2009, at City Garage, 1340 ½ 4th St. Alley (between 3rd Street Promenade and 4th Street), Santa Monica, 90406. Tickets: from $30.00 to $60.00. Phone (310) 319-9939.
For more information, go online at www.citygarage.org.