Friday, October 30, 2009

Comedy of Manners

Thats about all it is in some plays. If you don't understand what the manners of the time period should be, these plays won't seem funny to you on paper. You have to find the irony between the characters. Now, I will admit there are a couple of these plays I find funnier than others. I can't help but love Moliere's Tartuffe. I think the characters and situations are wonderfully played. Dorine ismy fav and it has nothing to do with the fact I played her!



I have yet to read School for Wives or School for Husbands by Moliere. Here is a little tid-bit, School for Wives was not well received by the audience, so he come back with The Critizism for School for Wives. I know, right? What is up with the school? Even a hundred years later, we have the play School for Scandal by Sheridan. I don't know. I have done a little research, not enough obviously. I have now idea. If anyone knows, please relieve me of long wondered question. I have my conclusions. I get it that school means to teach, so the playwrites are giving us a lesson on these subjects. But I have no proof.


In short, even if I don't think these are the funniest plays, I love the styles. I only wish they were done more. I hope I can find a show going up soon. Moliere's The Misanthrope has been done 1500 times from 1680-1960. I have yet to see it... I will keep you posted if I find one.

Friday, October 16, 2009

Moliere... Oui! Oui!

Oh how I love the story of this French man. Any struggling actor can draw inspiration from his life. Born in Paris on January 15, 1622 as Jean-Baptiste Poquelin, received every advantage a boy could wish for. His father tended to the king’s furniture and upholstery, so Moliere had access to the king’s court. But even as a child, he found it way more pleasing to poke fun at the aristocracy that to associate with them. Never showing much interest in his father’s craft, luckily his fathers shop was located near two important theatrical sites: the Pont-Neuf and the Hotel de Bourgogne. At the Pont-Neuf, they performed comedic farces in the street and a brought a smile to Moliere’s face on many an afternoon. At the Hotel de Bourgogne, which he attended with his grandfather, the King’s Players performed more traditional romantic tragedies and broad farces. Between the two different theatrical venues, we can see the impact it had on the young man. In 1643, at the age of twenty-one, he decided to dedicate his life to the theater, and thank god he did!



He started a theater company with a girl he had fallen in love with and a dozen well-to-do hopefuls. They called themselves The Illustrious Theater. To spare his father any embarrassment for having an actor in the family, he changed his name to Moliere. He and his company made their dramatic debut in a converted tennis court. With little experience and a lot of enthusiasm, they charged admission. It was a disaster! Over the next two years the little company appeared throughout Paris, each time failing miserably. Many dropped out of the company, so the remaining seven actors decided to leave Paris and go tour the provinces. For the next TWELVE YEARS, they would travel from town to town perfecting their craft.

During this time Moliere began to write plays for the company. His first important piece, L’Etourdi or The Blunderer, followed the escapades of Mascarille, a shrewd servant who goes about furthering his master’s love affair only to have his plans ruined when the blundering lover inadvertently interferes. The play was a success and a number of other works followed. By 1658, Moliere had improved his company and they decided to try Paris one more time. They learned the King’s brother, the Duke of Anjou, wanted to support a dramatic company which would bear his name; they immediately set out to gain an introduction to the Court.

He and his troupe performed for the first time before Louis XIV and his courtiers on October 24, 1658. They made a crucial mistake by performing a tragedy instead of one of their popular farces. The Court was not impressed, so Moliere approached the King about performing one of his own plays, The Love Sick Doctor. The King agreed and it was such a success that they were granted use of the Hotel de Petit Bourbon, one of the three most important theaters in Paris. The little troupe then became known as the Troupe de Monsieur.

Many of his plays scrutinized members of the King’s court but a success with the public. He made powerful enemies that managed to have performances of the play suspended for fourteen days and attempted to have him driven out of the city. They had the Petit Bourbon closed down completely, but the King immediately granted Moliere use of the Theatre du Palais Royal where he continued to perform for the rest of his life. Eventually they would be awarded the coveted title of “Troupe of the King”. Moliere directed and often played the leading role himself. On February 17, 1673, Moliere suffered a hemorrhage while playing the role of the hypochondriac Argan in The Imaginary Invalid. He had insisted on going through with the show saying, “There are fifty poor workers who have only their daily wage to lie on. What will become of them if the performance does not take place?” He passed away later that night at his home. Actors had no social standing and had been excommunicated by the church; therefore, no priest would take his confession and refused to bury him in holy ground. Four days later, the King interceded and Moliere was laid to rest in the Cemetery Saint Joseph.

Moliere changed the face of French classical comedy and has gone on to influence works all over the world.

Check these out:
The Miser (1668)
The Misanthrope (1666)
The Doctor in Spite of Himself (1666)
Tartuffe (1664)
The School for Husbands (1661)
The School for Wives (1662)

Wednesday, October 7, 2009

Mr. Williams

Suddenly Last Summer, a deeply poetic play by the brilliant Tennessee Williams.  In 1958 this one-act play opened off broadway as part of a double-bill with on of Williams' other one-act plays: Something Unspokenbut Suddenly Last Summer is more often performed alone now.  The play is basically made up of two long monologues, with themes of homosexualtiy, truth and falshood, using one another, madness and even cannibalism.

Set in New Orleans' wealthy district at the home of a widow Violet Venable, who once traveled the world with her son Sabastian, a poet.  She now wants to clense his memory from the niece of her late husband, Catherine, a poor girl who accompanied Sabastian on his final trip and witnessed his violent murder.  Between these two women is a young doctor who has been offered a generous research grant from Mrs Venable in return for his services, which are to give Catherine a lobotomy to keep her from tellng the truth about Sabastian and his sexual preferences.  Catherine has been put in one institution after another by her aunt Violet, given insulin and shock treatments.  She is now at her aunts to be evaluated for a lobotomy.  Her mother, Mrs Holly and her brother George try to convince her to change her story about Sabastian because of a hundred thousand dollars they are suppose to get when Violet dies.  The best part of this story is the end.  Catherine knows what she saw, and under a "truth serum" injection she begins to tell the story of the horrible death of Sabastian.  How he fed his fantasy with young boys on a European beach but suprisingly they end up feeding on him.  Literally.  An act that recalls the Dionysian ritual, sparagmos and omophagia,  in which a living animal or sometimes even a human would be sacrificed by being dismembered, by tearing apart of limbs from the body and eating the raw flesh.   

As in many of Williams plays, this one incorporates elements from his own life and of his idol, poet Hart Crane.  Williams' sister Rose was compelled to undergo a lobotomy at the instigation of their controling mother.  Read the play, it's short, or check out the 1959 movie version with Katharine Hepburn and Liz Taylor.  This screenplay was written by Gore Vidal!  A must see!

Sunday, October 4, 2009

PLAYS TO GO SEE

I found some plays around L.A. that sound good!  Hope you find one you like!

Lie of the Mind by Sam Shepherd
Studio/Stage
520 N. Western Ave.
L.A. 90004
RUNS 11/13-12/20  $20
#888-534-6001
www.studiofiveproductions.org/


I have a special place in my heart for this play.  This was my grad play with one of the most amazing cast of people I have ever had the pleasure to work with.  I plan on seeing this production, and I may be a bit critical.  Shepherd shows us his humor through pain with the suprises played out between two families linked together by marriage, but set apart by lies.  Shepherd probes into the human heart and the destruction it can cause.  I can't wait!


Shining City by Conor McPherson
Fountain Theater
5060 Fountain Ave
Hollywood 90029
RUN now thru 12/30 $15-$30
#323-663-1525
www.fountiantheatre.com


I have not seen or read this play, but plan on doing both.  The synopsis reads, a middle aged man living in Dublin has seen the ghost of his recently deceased wife.  He reaches out to a former preist turned therapist who is fighting his own demons.  A huanting story of faith, love and loss.  oohhhh, good stuff.





Tracers by John DiFusco
Elephant Theatre

6322 Santa Monica Blvd.
Los Angeles, CA 90038
RUN 10/21-11/21 $20
#323-960-4410

I have seen this play and it is so powerful.  This play tracks the lives of six enlisted men through the Vietnam experience and it's after effects.  Interestingly, DiFusco created this play through workshops with a group of VietnamVet/actors.  Gary Senise directed this Steppenwolf production in 82'.