The Misanthrope is a 17th-century comedy of manners in verse written by Molière, and first performed in 1666. More than 350 years later, this literary classic has been reimagined by Manhattan-based playwright Matt Minnicino, with his version, A Misanthrope, currently being staged by Avant Bard Theatre through June 30 at the Gunston Arts Center.
“If you’re a Molière purist, beware,” says director Megan Behm, making her Avant Bard debut with the show. “One of my favorite things about this show is that it frequently references itself, and it’s constantly making fun of its own style. Those expecting corsets and wigs and traditional Molière fare will be surprised, but I hope pleasantly surprised.”
The story follows Alceste, a cynic who can’t stand those who put on a public persona and is infamous for calling people out on their hypocrisy, which has cost him a lot of friends. Once he falls for ingénue Celimine, things start to unravel in his world. The play takes aim at social flattery with a hot take on the absurdity of modern airs through a series of witty rhyming couplets.
“The show follows two major through lines,” Behm says. “One is Alceste is sued for his inflammatory accusations; the other is what happens when he falls madly in love with Celimine, who represents pretty much everything he can’t stand.”
Celimene (played by Thais Menendez) is beautiful, witty and brilliant, but also a little duplicitous.
“In my opinion she loves Alceste back, but is too in love with her It Girl lifestyle to really change,” Behm says. “It’s a very silly comedy about these two people who are absolutely, totally wrong for each other, and absorb characters orbiting their world.”
A Misanthrope from Avant Bard closes June 30, 2019. Details and tickets
The show, she adds, is about how people present themselves to other people vs. who they really are.
Minnicino’s work takes some of the crusty aspects of Parisian aristocracy, which are not the most accessible themes to everyone, and turns them into concepts more present to a modern-day audience.
“The script is spectacular and it has essentially the same structure and plot line as the French original, but it has been completely updated with a modern, millennial perspective,” Behm says. “Everything did remain in couplets so the language is very fun, and fans of the original will find a fresh version of this story. For those who aren’t familiar with it, this is a great introduction to the world of Molière.”
Behm studied French in high school and college, so has already had a great love for the French language, and at one point, was almost borderline fluid.
“While I was studying French, I read two of Molière’s work in the original language, which was my first introduction to him,” she says. “In college, I worked on another Molière work, but this is the first time I have worked with a Molière story professionally, and it’s been fun to return to a world and style that I was exposed to as a student, with different sensibilities and different artistic impulses.”
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Another reason Behm was drawn to the project was because she had always wanted to work with Avant Bard. She approached the theater’s artistic director, Tom Prewitt, and he presented her with this show that was looking for a director.
“I instantly fell in love with the script,” she says. “I thought it was hysterical. I loved Matt’s writing, loved how vivid and creative it was. And the characters go beyond what those in farce usually do. Matt did a really great job in staying within the style, but flushing these characters out in interesting ways.”
One of her favorite things about Avant Bard is that it’s very actor-driven and A Misanthrope is one that needed to be driven by smart, clever, funny actors with a good facility for language, and Behm assembled what she considers a “dream cast.”
The cast features Elliott Kashner as Alceste, Jenna Berk as Philinte, Matt Sparacino as Oronte, Patrick Joy as Clitandre, Tendo Nsubuga as Acaste, Chloe Mikala as Eliante, Sara Barker as Arsinoe, Hannah Sweet as Basque.
“The show takes place all in one place, the design is not that complicated, so it’s really a showcase for these actors to tell the story and to do so in a creative and fun way,” Behm says. “There is no fourth wall. Right from the beginning, the characters are speaking straight to the audience, so it feels very intimate and makes the audience feel they are in on the joke and part of this world.”
Behm considers herself to be a very collaborative director, fond of getting the actors up on their feet and using improv to create different ideas for the play.
“This was a cast that jumped right into that and were willing to try different things and explore, so it was a dynamic, fun rehearsal room,” she says. “I was drawn to being a director because I love working with actors, and this is a show that is so actor-driven, and it’s been a delight to work with such a smart, talented cast and those unafraid to try wild, crazy things.”
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