Let's get my impolitic reflections out of the way: there is nothing wrong with David Grindley's direction or the acting of Peter Hutt, one of Canada's finest and most versatile actors; but Brian Bedford, the super-specialist director/actor for works of this sort, especially by Moliere, was originally scheduled to direct this production and play Oronte; and I cannot help but wonder what this Misanthrope might have been like had Bedford done so. He didn't because his incredibly fine The Importance of Being Earnest, originally a Stratford production, was a huge success on Broadway and was extended through July.
I was a bit disappointed in the first act of this production on its opening night, because, although it was played with remarkable clarity and precision, it seemed a clever dissertation of ideas with little that could be described as "sparkling" except its décor. Act 2, however, was impeccable comedy. The production is gorgeous. John Lee Beatty's multi- level, mostly golden sets are somehow charming while never less than elegant in what looks like museum-quality opulence. I know they're in Versailles, but did Celimene share her digs with Louis XIV? And Robin Fraser Paye's costumes are often actually wittily detailed while matching the sets. Do not talk to me about playing Moliere in modern dress. This classic comedy of social pretenses and manipulations is built around the hypocrisy-hating Alceste, whose behavior virtually defines misanthropy. The always-brilliant Ben Carlson makes Alcest more earnest and handsome than usual, but he is still insufferably honest, insultingly unwilling to bow to social customs, and truly hilarious in his furies and frustrations. He rightfully ends by promising to eschew all society and become a sour hermit; but he's really too amusing to let go of. Celimene, Alceste's endlessly flirtatious love, is quite vicious in her insults of others and incapable of faithful concentration on a single admirer. But Sara Topham is so lovely looking and so impish as Celimene that it is hard to condemn her. That leaves Philinte and Eliante, Alceste's intelligent, straightforward friend and Celimene's warm-hearted, also intelligent cousin, whom Philinte loves. They are devoted to Alceste and put off their own romance to try to keep him from being destroyed by the society he never stops attacking. Juan Chioran makes Philante more strong and dashing than usual, and Martha Farrell demonstrates how much lovely warmth of character an accomplished actress can bring to closed couplets. Kelli Fox seems to have a great time getting laughs as the reproving Arsinoe, who manages to be prudishly disapproving of Celimene while slandering her and flirting with Alceste. And Peter Hutt somehow never loses his dignity while getting laughs as Oronte whose hurt anger as Alceste's rival for Celimene reaches a peak over his hopeless pretense to writing poetry. Alceste, of course, is not the man to pretend that Oronte's poetry isn't awful. It's not a complex plot. But it can be great fun and is for much of this glittering production. The rest gets by on style.
