The Miser

Molière was undoubtedly the greatest author of French comedy of manners in the seventeenth century. It is also well documented that he was strongly influenced by the Italian commedia dell’arte actors, with whom he shared a theatre in Paris. This is most evident in his plays, whose very titles reflect stock characters of the commedia: Scapin and Sganarelle, or The Imaginary Cuckold. However, Molière’s company began in the provinces of France playing their own form of improvised farce and the evidence of commedia is to be found everywhere in Molière’s later plays.

The production you will see tonight has been inspired by the commedia dell’arte, but only to certain extent. Our setting is a townhouse in Paris in 1668. I have selected the David Chambers’ translation — a version of The Miser that accentuates the farcical elements and physical comedy and has very contemporary language (Molière himself wrote this play in prose, not verse). We are not, however, using a major feature of commedia — the mask. And we have only borrowed inspiration from the stock costuming and physical stances of the Italian players, we have not tried to reproduce them. The aim is to blend the French and Italian influences. We do have zanni, though. (Maybe they escaped from that Italian carnival?) I hope that at this moment they are entertaining you and bringing you into the world of our play.

This production represents a synthesis of both classic Molière style and the freewheeling improvisation of the commedia. In this way we hope to be true to the spirit of Molière and the world he lived in. Molière still speaks to us through his keen insight into human nature and his undisputed ability to entertain.