For the 400th anniversary of the birth of the Western World’s foremost author of dramatic comedy, FSU/Asolo Conservatory not only provides a verse-filled comedic treat but a visual one, as well. The Learned Ladies of Moliere’s play exemplify both as they act to dominate family and anyone who’d join or even serve them. Since learning, especially use of language, is their weapon, isn’t it fitting that Moliere’s French alexandrines be well translated to English iambic pentameter lines that their antagonists won’t be able to use against them? Or will they?
Onto a set with classic columns, red velvet curtains, furnishings full of books atop an Oriental rug with a crystal chandelier overhead, dance an exuberant cast. Costumes of extravagantly layered, multicolored tiers of taffeta, satin, fleece with lacy or the like lapels, and slits to show bright colored hosiery and shoes decorate all but one of the ladies. They have jewelry and huge, high wigs with ornaments. Most of the men wear simply tailored or serviceable clothes in variations of brown, with a few male exceptions for men who will relate “poetically” more to the women’s use of costuming. Obviously, the play’s going to be a romp!
And so Crysale (Joe Ayers, affable) begins by letting wife Philamonte (confidently dominating Imani Lee Williams), take over the house and lead her women friends in promoting academic learning, especially involving grammatical usage and poetry writing ability. In fact, they even plan to found a women’s academy that will set standards in everything in line with the values they hold. One involves shunning strong physical relationships with men.
When Clitandre (a rather bland if handsome Peter Raimondo) comes to secure marriage to Philamonte’s daughter Henriette (nicely shown as generous and conventionally normal by pretty Zoya Martin), the plan is frustrated by two ladies. Philamonte’s other daughter, jealous Armande (Erin O’Connor, rightly persevering in being perverse), claims Citandre asked her first. Even though she refused Citandre and will still do so to satisfy the ladies, she does not want her sister to have him and vice-versa.
Armande is joined in her assumed disdain of Citandre by her aunt Belise who claims to shun men. At the same time she is anxious for them to acknowledge how crazy (she thinks) they are about her. Macaria Chaparro Martinez makes any expression by overwrought Belise a truly comic highpoint.
Two men vie for the ladies’ admiration of their supposed erudition and also poetry. With foppish manner and lavish, brightly colored dress, Christian Douglass plays Trissotin. He’s actually posing as a wit, at which he’s as obvious as he is a contrived poet. Will he get his comeuppance? He clashes with the totally black-garbed Vadius (Evan Stevens, self-assured), who visits the ladies to read his famed scholarly (ahem) Greek poetry. What effect comes from his meeting with Trissotin?
As the one who finally most affects Crysale and his household, Jerald Wheat makes a significant contribution as his brother Ariste. Mikhail Roberts as Lepine and Rickey Watson Jr. as Julien both win laughs portraying beleaguered servants. Dreaa Kay Baudy appears special in the moments she’s noticed as a Notary under a table.
The one whose character is the major antithesis of the snobby ladies is the serving girl Martine. Her near-crime in their eyes is her sloppy grammar. Sydney Story makes it admirable to the audience. Crysale has addressed his wife’s firing of her, and it’s fun to see how Story’s Martine fares by the end of the play.
Benny Sato Ambush shows his vast experience, as well as assured ability pulling a team of actors and musical and technical personnel together, with his leadership in directing The Learned Ladies. As the present Artistic Director of Venice Theatre in Venice (Sarasota County), he proves he is now a local treasure. A wealth of talent at FSU/Asolo Conservatory fittingly celebrates with him the treasured talents of Moliere on this year’s significant anniversary of his birth.
