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The Misanthrope Theater is theater, regardless of where it is performed, from the most elegant "money is no object" theater companies to the smaller companies that perform in the most confined spaces. No matter how long your list of sponsors or subscribers is, the bottom line is how good is the talent on stage. I've sat in the audience in Broadway, regional, and community theaters, and all three have their share of powerful theater and some dreadful productions as well. It all comes down to the talent, period. Every city has new theater companies popping up somewhere in their suburbs. Sadly, due to a checklist of reasons, we tend to lose these new companies as quickly as they spring up. Here in the metroplex we have lost such companies as Dallas Alliance Theater and the Deep Ellum Opera Theater Company in the last ten years, with a couple of current ones close to shutting down. A new company that entered the DFW artistic family in 2000 was ProgreXssive Arts Productions (PAP). The Misanthrope that PAP has mounted is not the version that you and I had to study in college (thank god!). Instead, we have a new adaptation by London native Neil Bartlett. While it is still in verse, it is easier to comprehend ... most of the time. The script does become a bit too loquacious in its flowery language. When it speaks with clear honesty, however, the piece becomes magical. ProgreXssive Arts' presentation is an accessible Misanthrope. Directing with an intellectual and perceptive artistic brush, Vikas Adam has taken this play and placed it in the void, vapid, and slick world of the fashion industry. This concept works perfectly with the script. Adam has directed his cast to move the pace and exposition at a solid tempo, only slowing down when the emotion or dialogue deserves moments of pause and silence. PAP's production is mounted in a classroom at the Bath House Cultural Center. There is no set whatsoever and no true lighting - instead lamps are clamped above the audience. But honestly, with the blinding white walls and harsh, colorless light, the audience can feel as though they are by accident entering a photographer's studio. The space is tiny, seating maybe 40, so everyone is extremely close to the actors. In the second act, the seats are rearranged to resemble a fashion runway show - an excellent artistic choice - and Adam includes a fashion show which is quite festive. He is greatly aided in pulling this off by the eclectic, fun costume designs of Jamie Little Puente, hair and makeup by Suzie Baume, movement by Jessica Manning, and hot dance beats by sound designer Jason M. Fitzmaurice. So, with the exception of the fashion show costumes, there is no visual design to stimulate the senses. It is up to the actors to make the evening, and the talents of these new faces deliver smashing performances all around, with two in particular that are just outstanding. A production that has its director playing the lead enters some tricky waters. This type of double duty can sink the show like a rock or allow it to float with ease. In this production, it is the latter. Adam shows all the hot, seething anger and contempt for the situations swirling around him with his intense acting craft. In the second act, he creates even more depth and understanding as his character's arc reaches its apex with harsh reality, all thanks to Adam's convincing and vociferous acting. The only problem with his work is that he has a roller coaster effect with the script's verse writing. Adam at times gives a sing-songy delivery, though overall his performance is thoroughly enjoyable. Valerie Hauss-Smith as the French-speaking stylist Eliante is one of two characters you can actually care for. Smith is a walnut-haired beauty who deeply cares for one of two best friends, Alceste (Adam) and Philinte (Stephen Tickner). Splattered on this stage are some really vile and hateful characters, but Smith as Eliante is one of the few who wins the audience's empathy. She is both charming and loveable in the role. James Gilbert (Acaste) and Alana Macias (Clitandre) portray the two evil schemers of the evening. These two ooze, slither, and attack with poison-filled fangs at not only others on stage, but each other as well. They attack each other sexually as they snort lines of coke. It's like seeing two asps dressed in Versace ready to bring another victim down. While Gilbert and Macias are despicable, they are extremely entertaining to watch on stage. You gotta love those villains! L'illette Vasquez (Arsinoe) and Tim Shane (Oronte) also bring in noteworthy performances, in particular Miss Vasquez. Her Arsinoe is a former model who was the original manager of Celimene (Shanna Riddle), only to have herself thrown to the curb by Celimene for a more high profiled manager. Vasquez is a tall, copper-haired beauty whose characterization has overtones reminiscent of Helen Gurley Brown. Arsinoe is a woman hellbent on revenge, and you will love the results of her plotting. This leaves what I consider the two most impressive performances of the evening - Stephen Tickner as Philinte and Shanna Riddle as Celimene. As Celimene, Riddle is the eye within this emotional storm created by the people surrounding her. Celimene has two men pawing for her affections, a possible love affair with another woman, and a former manager who wants her to be fashion roadkill on the runway. Riddle is indeed a sexy doll on stage, but there is no inner beauty, for her ice-cold aura freezes any emotion coming from this heartless medusa. The role could have become one note, but Riddle steers clearly away from this. She gives her character purpose and reason for why she does what she does with the people around her. You may not agree, but you somehow understand. Riddle uses her face like a window to her vacuous heart - you can see what she is feeling or thinking from her expressive eyes and face. Riddle gives a mystical, unscrupulous, glacial and intense performance as this high gloss model. Stephen Tickner's Philinte is best friends with Alceste (Adam) and happens to be a male model as well. Tickner is the other one that you can care for in this den of false creatures. Tickner is a tall and extremely handsome man, and he he has a solid grasp of his technique and heartfelt approach to his character, resulting in providing the best performance of the men in the cast. He displays honest and touching emotion in trying to help and be there for Philinte's best friend, Alceste. Tickner wears his emotions on his face, thus his eyes and face provide touching subtext. There are situations during the evening that might cause Philinte to lose the woman he loves (Smith's Eliante). Here he provides deeply moving and painful subtext with both his verbal and non-verbal acting in voice, emotion, face and body. The chemistry between Adam and Tickner as best friends is tight and totally believable. Tickner's performance is gallant, sincere, and impressive. Companies and performers like ProgreXssive Arts Productions are proof that you don't need top of the line physical aspects and trappings to mount theater worth attending. Instead, they let their talents speak for themselves. I hear it loud and clear, and you should too. The Misanthrope runs through September 7. For tickets and info call 214-653-9936 The Misanthrope Director............................Vikas Adam CAST Alceste.............................Vikas Adam |
