In 1662 when Molière's The School for Wives premiered on the French stage, it immediately made theatre history. Not only was it the first great French five-act verse comedy but it also truthfully put day-to-day etiquette and behavior onstage, mirroring society in a way never before attempted in comedy. Sadly productions of Molière today are rarely ignited with the same candidly bawdy fire that once made them so terribly delightful. Today's Molière usually consists of not much more than overdone and overblown costume parades: teetering wigs, ghostly faces, and a plethora of frighteningly high cleavage.
This production, therefore, is the cause for much jubilation. Its success is due in large part to the outstanding new translation by Ranjit Bolt. Though countless English translations exist, director David Chambers wisely chose Bolt's 1997 version and collaborated with him in adapting the script (originally translated for Sir Peter Hall). The result is an up-to-date, widely accessible translation that Molière would happily hang his hat on.
Dakin Matthews plays the central character of Arnolphe, a man driven by his own folly to take extreme and ridiculous measures to create the perfect bride and avoid, at all expense, cuckoldry. Matthews is a testament to training and craft. Actors everywhere should take note of his amazing physicality, impeccable timing, and ability to mold and use the verse. Often actors fight the rhythm and rhyme of classical text, forgetting that the verse is there to help and guide, not stifle. Matthews' work is even more impressive when one realizes that his demanding character remains onstage for the entirety of the play.
Chambers' direction is fun more than anything else. He manages to marry slapstick high jinks with lovely moments of simplicity. His staging is upbeat and varied, clear and daring. Chambers lets the feminist underpinning of the play speak for itself but also subtly highlights its clear resonance today. Less subtle is Darcy Scanlin's bold set design. Though the concept is good, the execution seems somewhat lacking. At first glance the hanging wedding dresses are excitingly bizarre and intriguing, but their possibilities never come to fruition. Scanlin's color scheme of oranges, greens, and whites, coupled with Chris Parry's rather bright and all-encompassing lighting design, unfortunately becomes wearing on one's eyes. But in supporting roles Emily Bergl, Daniel Blinkoff, and Francois Giroday are equally strong, making L' Ecole des Femmes' bad manners wickedly good.
"The School for Wives," presented by and at South Coast Repertory, 655 Town Center Drive, Costa Mesa. Tues.-Fri. 8 p.m., Sat. 2:30 & 8 p.m., Sun. 2:30 & 7:30 p.m. Jan. 11-Feb. 10. $27-52. (714) 708-5555.