THE SERVICE NEWS PLAYGOER

A great majority of Moliere was intended primarily as satire of the seventeenth century French court. As such, his comedies are among the greatest ever written. They satirize, however, a target completely insignificant to modern audiences, and they satirize it with humor typically French and almost entirely unintelligible to the theatre goer of today.

Moliere's seeming sterility is even further enhanced by the available translations, of which the Harvard Dramatic Club has found a particularly unauthentic specimen. Thomas Austey Guthrie's conception of Moliere necessitates the frequent addition of his own prose, as well as incorrect and unidiomatic translation of the text itself. What reason could there be for translating "Parleral-je haut?" as "Is it permitted to speak in Madamo's presence?"

Such translation not only handcuffs any production but raises a strong doubt as to the value of presenting any foreign play unless it has been translated by a man who himself possesses literary imagination and ability. If the Dramatic Club wants to play seventeenth century comedy of manners let it delve into Wycherly, Congreve, or Etherege.

Robert Lubchansky, as Alceste, to whom the whole world is "detestable," bears the brunt of the exposition of a role on which Moliere leaves his audience as judge. Lubchansky's interpretation is most notable for its absence, and although he competently portrays Alceste's disillusionment and dark anger, he plays the role straight, leaving his listeners to decide whether he is a justifiably pessimistic cynic or a ridiculous crank.

James Lamantia, as fired, and Evelyn Merson, as "amante" of Alceste, both give capable, if not outstanding, performances; perhaps the latter's chief flaw is a tendency to overdo her coy coquetry. Mollere's foppish aristocracy, as inevitable as Shakespeare's colwns, is capably portrayed by Hibbard James. Harold Fondren and Robert Miller.

Most of the technical equipment shows the handicap of financial limitations--a somewhat bare stage and unimaginative costumes, especially for the three female roles. Wigs in most cases, improved little, due mainly to anachronistic hair styles. All these faults contribute, unfortunately, toward the failure of the Dramatic Club's presentation of "Le Misanthrope" as an adequate representation of either Moliere's or the HDC's potentialities. fps