Next month, “The Misanthrope” by Molière will debut on the Tower Player’s stage.
The play, originally written in 1666, tackles human foibles and behaviors that director and Theater Department Chairman George Angell said are just as worthy of having fun poked at them today as they did when the play first showed. It will run November 19-22.
According to Angell, the play forces the audience to confront the question of whether or not you should tell the truth all the time no matter what, or rather, you should lie all the time despite the consequences. Unlike in a typical melodrama where good triumphs over evil, “The Misanthrope” leaves the audience wading in a pool of grey.
The society in “Misanthrope” is extremely superficial, senior Aaron Pomerantz, who will play male lead Alceste, said. They are focused on how others dress, wear their hair, and how wealthy they are.
“It’s kind of like Mean Girls,” Angell added.
The play originally mocked the manners and customs that invaded French court during the time period. Angell said he has wanted to direct this play for a long time, but has plans to bring the work into the modern world.
“People expect something nice, safe, and traditional,” Pomerantz said. “[Our rendition] isn’t dangerous, but it isn’t safe.”
Instead of displaying 17th century French court fashions, dramaturg senior Jennifer Shadle is taking inspiration from 21st century runway fashions.
“The fashion is crazy. I don’t know what I am looking at,” Shadle said. “Capri pants for men called joggers? That’s so silly.”
Angell and Pomerantz both mentioned suits with shorts as a bizarre new men’s fashion they may incorporate. Pomerantz said “meggings” — or jeggings for men — may make an appearance, but he’s hoping they don’t.
“I have to keep my gym regimen up,” Pomerantz added. “The characters are so self-involved and ridiculous.”
Shadle said the only problem with a crazy set and costumes is keeping the audience focused on what is being said.
“It’ll be different, but I think people will still pay attention,” Shadle said.
As a dramaturg, it is Shadle’s job to find intricacies in the script that could enlighten actors, set design and costuming. For example, Shadle said Molière inserted much of his marriage relationship with his wife into his main characters of Alceste and Célimène.
“This could be helpful for the actors to know to help enrich their acting process,” Shadle said.
All three are most excited about their plans to incorporate social media into the production. Shadle said they are hoping to make a Snapchat account, where actors or audience members could Snapchat each other during the performance.
“Instead of having someone say to please turn off your cell phones, we would ask the audience to turn them on and up,” Angell said.
The kinks of the technological side haven’t been fleshed out yet, but Angell said they are modernizing every aspect of the play.
If an actor in 1666 would have read a poem or letter on paper, the Tower Players will read them on an iPad or their cell phones.
Cell phones or not, Angell said the messages of the play transcend time. Shadle added that while reading through the script she thinks, “Oh yes, I know someone like that.”
“The way people treated each other back then is the exact same way we treat each other now.”
