Not Misery, Just Miserly 9/11 Clouds Dim "Sunlight"

The plays of Jean Baptiste de Poquelin (aka Moliere) are more than three hundred years old now and still being produced. Moliere was one of three founders of the French National Theatre, La Comedie Francaise. He was the chief actor in his own theatrical company, and he stuck to writing comedy only. His works are derivative of the Italian commedia del’arte, their plots are sometimes lifted from other writers, and the playwright specializes in stock characters. So what’s the secret of his three-century success?

In Ross Valley Players’ new production of The Miser, Moliere introduces Harpagon, a stereotypical skinflint who loves his strongbox more than he loves his children. Harpagon’s latest hiding place for his treasure is buried in the back yard, where it is guarded by a pack of snarling Dobermans. He’s also busily arranging marriages for his children according to the dowrys involved. However, daughter Elise is already in love with Valere, a servant in his own house, and son Cleante adores the beautiful Marianne, who comes from a poor family: “clean, but very poor.” Their father has other plans. He wants to marry his daughter to a rich old man who doesn’t require a dowry and won’t last long, and he himself wants to marry the same Marianne, who has no expensive habits.

This script adaptation of the play is not in its original verse form; it uses modern language, and Director Bruce Vieira, in partnership with Costume Designer Michael Berg, has had fun with it. The costumes are colorful composites from the last three hundred years. Harpagon, for instance, wears a faded satin dressing gown over something that might be a sweat suit or long johns, while the Chief of Police declares his authority in a splendid Napoleonic hat. David Apple’s two-layered set, by contrast, presents a 17th Century miser’s grand, but decaying, mansion.

The Miser is an especially physical play. Action moves all over the stage, even flopping off the stage and down into the audience. There are also well-choreographed fight scenes, and the grand entrances of some key characters signal their dramatic importance.
The first of these entrances belongs to the matchmaker, a flamboyant seductress with the unlikely name of Frosine. Frosine (Courtney Walsh) is more than anxious to secure the match between thrifty Marianne and greedy old Harpagon, assuring him, “She adores older men!” but first, the matchmaker needs “a small gratuity,” to get her out of legal trouble. Harpagon pretends not to hear.

The next surprise appearance is the by-the-book Police Chief (John Anthony Nolan) who believes no one, suspects everyone, and insists on adherence to procedures. Nolan’s proper Britishness in this French play is a fine bit of casting.

The final grand entrance – bringing an onstage gasp – is the wonderfully wigged Anselm (Michael Fay,) the same rich old man who was planned for Elise because he was not supposed to last long. As events unfold in a Shakespearean way, Anselm’s presence at the house – though unexpected -- is entirely necessary to tie up the plot and supply the requisite happy ending.

GreyWolf, an experienced actor new to the Ross Valley Players, has the title role. He delivers Harpagon with considerable volume, but more wheedling and whining, less shouting and blustering would seem more in the miser’s character. Kelly Rinehart as his daughter Elise is convincingly desperate to marry the man she loves, the servant (or is he?) Valere. And when Valere’s role becomes suddenly Spanish, actor Chad Yarish accomplishes the change seamlessly. Beth Deitchman portrays the modest, but much desired Marianne, and Andrew Gruen is her devoted Cleante. Ben Knoll plays Master Jacques, cook, coachman, and all-purpose servingman to Harpagon. Fred Pitts as La Fleche and Victoria Lee Williams in two roles complete this large, high-spirited cast.

Moliere’s The Miser will be at The Barn Theatre in the Marin Art & Garden Center through Valentine’s Day, Feb. 14. Performances are given Fridays and Saturdays at 8 p.m., Sundays at 2 p.m., and Thursdays at 7:30. Ticket prices range from $15 to $25.
For complete information, see the website, www.rossvalleyplayers.com, or call the box office, 456-9555.

Marin Theatre Company’s press release states that it is “committed to the development and production of new plays by American playwrights, with a comprehensive New Play Program. . . and a leadership position in the National New Play Network.” The theatre’s newest production, Sunlight, fits the mission statement; it is both a winner of MTC’s Sky Cooper New American Play Prize and a co-production with New Play Network. Jasson Minadakis directed the work. But the question with each prizewinner is, will this one become a new classic? Will this playwright be the next Arthur Miller?

Sunlight’s drama takes place in a New England university president’s home, a bucolic old residence now filled with packing boxes. (Wonderful set by J. B. Wilson.) The president’s adult daughter, Charlotte, is cursing into her telephone as she feeds papers into a shredder. The president’s loyal, long-time assistant – called either Midge, Marianne, or Mimi – objects to the shredding (“It’s an archive!”) and to the curses.

Now, brushing off snow, Vincent, Charlotte’s ex, arrives to summarize, “Nothing says scandal like a living room with a shredder.” He wants to reconcile with Charlotte, to take her out for steaks and martinis, as they did in the old days, but Charlotte is adamant that these boxes, containing thirty years’ worth of her father’s records, law reviews and taxes must be organized, put away or destroyed – and fast. Dad is facing a vote of confidence from the Board of Regents. It could go either way.

Her father, Matthew Gibbon, arrives in a fury, having crossed lines of student protestors. His disloyalty list has 300 names on it now, but he refuses to be compared to Nixon. Those on the list are people who’ve brought down the law school, “his brightest jewel,” and who have turned their backs on him now. They objected to him shutting down the student newspaper, backed the law school’s defense of “controversial techniques” in the questioning of political prisoners. “Where’s the outrage?” he demands. And Vincent, his former son-in-law, is now dean of the law school.

The play’s title, comes from Vincent’s quote, “Sunlight is the best disinfectant,” referring to the Regents’ investigation of the president’s alleged law school break-in. (The student paper left out “alleged.”) And as the investigation goes on, the old home’s occupants shout, rage, bully, cajole, and shout some more. Sunlight is a loud play.

The actors, as always at MTC, are superb. Carrie Paff is the conflicted Charlotte, Kevin Rolston presents a reasonable, right-wing Vincent, Charles Dean is the “mighty liberal university president,” and Wanda McCaddon is dedicated Midge, who just wants everybody to be polite and have something to eat. The audience would like to see more of Midge, who’s the only thing close to comic relief.

Sunlight is an idea-driven play. Its characters are vehicles for carrying those ideas. It has passion and intelligence and gives viewers something to talk about afterward. However, even though the play was only written in 2006, its backward focus is already starting to make it feel dated. Dated works do not become classics. And Sharr White, at least in this work, is not looking like the next Arthur Miller.

Sunlight will play at the Marin Theatre Company in Mill Valley through Sunday, February 14. Performances are given every day but Monday, with ticket prices ranging from $20 to $51. Performance times vary. For complete information, please call the box office, 388-5208, or see www.marintheatre.org.