By Reena Dutt
Arizona Daily Wildcat
October 30, 1997

Merrymaking with Moliére

Photo courtesy of John Florence. Arizona Daily Wildcat The farce is with them: Tyrena O'Donnell, Michael McClanahan and Blain Christine learn their lessons in "The School for Husbands," one of the Moliére Comedies presented by the UA department of theatre arts.

The Arizona Daily Wildcat

Parlez-vous français? Well, you don't have to. The Moliére Comedies, performed by the University of Arizona's very own BFA (Theatre Arts) students is showing - in English - through Nov. 2 in the Laboratory Theater.

The theater company proves their experience with traditional French performance through the two plays which make up the show, "The School for Husbands" and "The Imaginary Cuckold."

The Laboratory Theater is one of the most versatile theaters I have ever seen. Every time an audience enters for a new production, it feels like a different place. This time, it feels like entering the apartements of the French bourgeoisie and the costuming only adds to the effect.

The wardrobe is absolutely stunning. With gold trim on detailed fabric and folds of material creating the classic drapery effect on the women's and men's gowns, it is difficult to take one's eyes off the actors.

The performances in the first play, "Husbands," don't quite match up to the second, "Cuckold." The story of "Husbands" is frustrating at times, telling of Isabelle (Tyrena O'Donnell), a young lady whose guardian (Michael McClanahan) wants to marry her. Through a well-planned lie, she marries the person she is really in love with, Valère (Blaine Christine).

It's not that the actors do a bad job, but in concentrating on the script's couplets, they fail to connect with each other. Having seen these actors in other roles where there was a strong interaction between them, I'm tempted to blame this on some of the actors' reliance on the rhyme scheme.

In "The Imaginary Cuckold," however, the storyline gives the actors enough space to interact and really communicate with each other.

Since the set for this play has more additions, such as shrubbery and door pieces, the setting feels entirely different. This time the story is of two pairs of lovers who have one massive miscommunication, which is, of course, cleared up by the end of the comedy. Johnnetta Bowser plays Sganarelle's wife, a hilarious character who keeps most of the audience rolling with laughter.

Dhyana Dahl (who plays a smaller role in "Husbands") also reappears, this time leaving a much greater impression as Celie, an emotional daughter who is in love with Lelie (Nathan P. Krause), a handsome young man.

One thing that adds to "Cuckold" is the physical humor. The play almost bases itself on the blocking. Characters run all over the stage, while the timing on certain movements plays a vital role in the comedy.

While most of the actors from the first play reappear, here they look completely different, and their personas change as well. On the whole, "Cuckold" is by far a much better performance, one in which the actors are connecting and the audience responds accordingly.

For show times and ticket information contact the UA Fine Arts Box Office at 621-1162.