Playwright: Moliere
At: La Comedie-Francaise at Chicago Shakespeare Theatre
Runs through: Closed
One listened to the sound of their voices. It didn't matter that they spoke French. The tone, feeling and individuality of each performer made clear the intention and emotion of each moment. Yes, this was comedy with much physical farce, yet the spoken word had elegance and music. In the title role of La Malade Imaginaire (The Imaginary Invalid) Alain Pralon—a 40-year veteran of the company—used the most economical yet elastic body language to express the stubborn, often childish but powerful nature of the hypochondriac Argan, a figure of authority despite an intentionally undignified costume (an oversized diaper). Indeed, each character was defined by precise physical carriage as much as by voice: the carriages of dignity or of pomposity, of pleading or defiance.
Superb use of the instrument (i.e., the actor's body and voice) is a hallmark of great acting ensembles, and none more so than La Comedie-Francaise, which made its long-overdue Chicago debut June 17-20 at the Chicago Shakespeare Theatre. Founded in 1680 by order of King Louis XIV, La Comedie-Francaise is 151 years older than Chicago. The company performs contemporary work, but its true raison d'etre is as a repository of the classics, with the plays of Moliere above all. Thus, the troupe brought to Moliere's last work (he died while performing the role of Argan during the fourth performance of the play) not only superb acting skills, but also a comedic tradition that's 325 years old.
Make no mistake: this production was anything but fusty. Written in three acts but performed here in one act, Moliere's text was edited, somewhat modernized (archaic French replaced by more contemporary grammar) and certainly given a darker tone than many may have expected. Yet the heart of Moliere—his caustic satire of the medical establishment and of bourgeois society—was not only secure but in full flower. Here is a play—and a spirit—that places life on one side, and marking time towards the grave on the other. It pits anarchy against authority, and choice against control. And guess what? The good guys win! Would that it were that way in American politics.
Claude Stratz was the estimable and clear-headed director, with understated costumes in a muted range or colors by Ezio Toffolutti, who also designed the bleakly grand, neo-classical salon in which the action was placed. Strolling musicians in black or white commedia dell'arte costumes and masks paid homage to the even older comedic tradition that inspired Moliere.
This was joyful theater, masterful theater; comedy with pace, elegance and truth. Let all Chicago actors and directors take note: faster and louder is not funnier. Let character come first—built through physical and vocal discipline and sure knowledge of the material—and farce will follow.
NOTE: WCT's customary policy is not to review plays that have closed. We make an exception for this extraordinary Chicago debut.
