To some extent, we all know a miser. In Molière’s French satire The Miser, the titular character is more than just stingy – he cares more about money than his own children. In his first appearance with Bell Shakespeare since 2015, John Bell is a delightfully miserable miser.
Harpagon (Bell) wants to marry off his daughter to a rich noble, then marry a young floozy himself who won’t spend much of his fortune. But the young people already have loved ones of their own, whom they must keep secret from Harpagon if they are to execute their plan and separate their father from his beloved money.
Bell’s formidable talent takes centre stage. His timing and understanding of language are unparalleled, and he is magnetic. Michelle Doake receives many hard-earned and well-deserved laughs as matchmaker Frosine, and Harriet Gordon-Anderson and Jessica Tovey are a fantastic duo. Jamie Oxenbould proves yet again how enduringly watchable he is, and Sean O’Shea’s playfulness is a delight to witness.
The Miser was first performed in 1668, but Bell Shakespeare and director Peter Evans have given it a distinctly Aussie makeover. It remains true at its heart to Molière’s themes (warnings?) of greed, lust, secrets and lies, but some local slang – and some classic Justin Fleming wit – is refreshing. The rhyme of his words is boisterous, and the cast handle the language and rhythm with ease.
Evans’ directorial energy is palpable throughout the production, with the cast rallying admirably to meet the physical challenge. They are suitably dynamic and energetic without overplaying the farce, which is crucial to this production’s success.
Design by Anna Tregloan is beautifully camp, rich, ornate and sumptuous. There’s plenty of shiny things to look at, from outrageous wigs to luscious fur coats and fabulous footwear. Lights by Matt Cox and music by Max Lyandvert add lovely depth to the landscape.
This production bubbles with wit and energy, and while there’s bound to be a lesson in it, go for the costumes, the laughs and John Bell.
Playing at the Sydney Opera House until April 6, then moving to Canberra and Melbourne.
Alana Kaye – Theatre Now
