Harriet Gordon-Anderson and Jessica Tovey in The Miser. Image: Prudence Upton.
In this Bell Shakespeare production, John Bell has chosen not a Shakespearean offering but a 17th century French play by Molière. It’s an interesting choice for Bell’s first return to the stage since 2015 with the company he founded, and he is completely in his element as the titular miser, Harpagon.
Molière’s play was first performed in 1668 but here, as with many Bell Shakespeare productions, it’s undergone a complete transformation. Directed by Peter Evans, this show is not some courtly, aristocratic set piece, but one rooted firmly on Australian soil. Thanks to a re-jigged script by Justin Fleming, the language (often rhyming couplets) is studded with Aussie vernacular (“come the raw prawn”, “weak as piss”). The Miser is very much a farce and all the characters play up this heightened silliness. Look elsewhere if you’d prefer your theatre to explore deep socio-political issues: the simple moral here is that greed is inimical to good family relations. In the original production, there would have been a bit more gravitas beneath the frivolities but here it’s played for laughs alone.
As Harpagon, Bell balances the fine line between a miserable stingy bastard and a pathetic fool who’s so blinded by his love for filthy lucre that he’s willing to sacrifice his offsprings’ happiness. The curmudgeon rules over the household consisting of his daughter Élise (Harriet Gordon-Anderson) and son Cléante (Damien Strouthos). Despite the rather posh names that have been retained, they’re all trashy bogan types. (Think fake fur coat, gold lamé jacket, glittery shoes, and, as a concession to the Molière’s period, Cléante even sports a fright wig). The plot involves the two kids trying to marry their respective penniless sweethearts while Harpagon is set on them being wed to rich geriatrics. Things become even messier when he falls for the young girl who’s in love with his son, Mariane (Elizabeth Nabben).
By keeping things as frothy as possible, this adaptation depicts Élise and Cléante as spoilt brats, which makes it hard for the audience to empathise with them and you can almost understand why Harpagon would rather hang onto his pennies then let them be squandered. But an inspired innovation is a gender-bending Valère (Jessica Tovey), whose scenes with her beloved Élise add an extra touch of same-sex frisson. The support cast, who play a medley of servants and suitors, are led by a particularly energised Michelle Doake, who plays matchmaker Frosine. Every time she is on stage, Doake’s presence is commanding.
Apart from four doors set against burnished golden walls and a chaise longue that seems to be moved around for no discernible good reason, Anna Tregolan’s set is rather disappointingly minimal.
The Miser is entertaining enough with its hammy melodramatics and as a star vehicle for John Bell. It doesn’t quite satisfy however. Like eating a soufflé; the production feels a bit hollow.
3 stars ★★★
The Miser
By Molière
A new version by Justin Fleming
Director: Peter Evans
Designer: Anna Tregloan
Lighting Designer: Matt Cox
Composer & Sound Designer: Max Lyandvert
Cast: John Bell, Michelle Doake, Harriet Gordon-Anderson, Elizabeth Nabben, Sean O’Shea, Jamie Oxenbould, Russell Smith, Damien Strouthos, Jessica Tovey
25 April – 12 May 2019
Fairfax Studio, Arts Centre Melbourne
