The Miser by Moliere directed by Jordan Best. The Street Theatre Members in association with Centrepiece Theatre at The Street Theatre Studio, Thursdays to Saturdays March 3-19, 7.30pm. Twilight March 13, 5pm. Matinee March 19, 2.30pm. Bookings: 6247 1223. Tickets: $19/$15.
This is a competent and highly enjoyable production of a classic comedy. The modern translation catches all the twists and turns of the original, and the actors work well as a team and individually. Moliere's theme, about how obsession with money results in gross abuse of common humanity, is clearly presented in a lively physical style of acting in a bright colourful setting with costumes to match.
Among the actors, two stood out in my view.
Ian Croker, in the lead role of the miser Harpagon, played a devilish character which required great energy to maintain. His intensity gave us an interesting perspective which, at the right moments, revealed the psychological insecurity which underlies such a determinedly autocratic figure. There was something of Saddam Hussein in Croker's Harpagon when, having discovered his 10,000 crowns were stolen, he accused the whole town, including us in the audience, demanding that we all be tortured.
In a strong and intelligent performance of Frosine, Margie Sainsbury showed us the kind of torture imposed by the miser, hiding her real self in the hope of gaining enough to survive, but being forced to grovel before the dictator who takes all the flattery and advantage he can get without ever giving anything in return. Sainsbury found both the funny clown and the tragic clown in the role, and allowed us the satisfaction of seeing the real Frosine in the final scene, as Moliere surely intended.
Technically, Matt Balmford (Cleante) and Jeremy Just (Jacques) needed clearer articulation and volume control, but otherwise in characterisation and comedic style were the equals of Carly Jacobs (Marianne), and Matt Borneman (La Merluche) and Tania Stangret (Brindavine) who also played a range of slapstick roles. In the more sane roles of Valere (Jim Adamik) and Elise (Liz Cotton), Adamik's acting was the stronger, while Cotton's stage presence faded at times - though her stoush with her father over who she would not marry showed her capability.
Newly established Centrepiece Theatre has begun very well.
© Frank McKone, Canberra
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