Review: A Journey through the World of Molière

“The journey you are about to embark on may or may not be the most comfortable, but rest assured that the process for the actors, the crew and the discovery of creating French Comedy, especially in this strange fashion, has not been the easiest either. This journey may also be the most experimental theatrical experience you have experienced at NIDA in a while, but it could turn either into a wonderful one or a nightmare. That all depends on you and it all depends on us, because a journey is never twice the same.”

The words of visiting French director Jean-Luc Prevost, who put together this performance with some of NIDA’s current third-year students (actors, designers, production people, etc), certainly suggested challenging, innovative, most likely provocative theatre — and the experience provided all of that.

A journey? Absolutely. Starting from the moment patrons walk the red carpet into the foyer and are announced by name by the bewigged, face-powdered doorman dressed in all the finery expected from the 17th-century French nobility. The actors are already there, moving among the guests, entertaining them with cameos, as they handed out capes and shawls. Then it’s off for a tour of the NIDA–Parade complex — up and down stairs, in and out of lifts, into the library, stopping off in hallways and performance spaces, squatting in the open-air courtyard.

Comfortable? Sometimes marginal, especially for an increasingly stiff-legged baby boomer. But then it’s off to somewhere else, with the variety and quality of the performances — and the infectious exuberance of the young performers — rarely allowing the mind to dwell on a bit of cramp or numbness of the bum.

Experimental? Again, absolutely. Prevost has created a multitude of Molières and characters from his dozen or so actors, mixing bits of the great French dramatist’s plays with song, dance, rollerskating and scintillating contemporary dialogue.

Wonderful? Very much most of the time — which edges just over three hours, rather than the advertised two (make sure you eat beforehand). The rapidly moving theatrical feast provides the cast with a tremendous showcase for their undoubted talents — and , boy, do they grab the opportunities. And they well handle the problems inevitable in this sort of production. Things do go awry at times, but quick wit and humour always win out. Indeed, at times it is difficult to draw a line between what is scripted and what is ad libbed.

And, yes, the performance’s success is dependent on the attitude of the patrons, who are often as much participants as spectators. They provided some worthy performances themselves, none better than the evening’s anointed King Louis, who looked the part and delivered some memorable repartee.

The stated aim of the evening was to ask if Molière and his style of comedic theatre were still relevant in today’s world. The question was clearly answered in the affirmative, simply because there’s still a need for people to rail against hypocrisy, pomposity and pedantry — and a desire to do it with fun in our hearts.

More importantly, though, the evening proved once again, just what a vibrant and exciting time it is for Australian theatre — and what a splendid future it has. Well done, students. Well done, NIDA. Well done, Jean-Luc Prevost. And, well done, Jean-Baptiste Poquelin, aka Molière. You’d be mighty chuffed by what’s happening in your name at the Parade Theatres right now.

CLICK HERE to email Oz Baby Boomers with a comment regarding this play or review.

[RETURN TO TOP]

HOME > THEATRE > ARCHIVES 2009 >