The Misanthrope

Moliere’s comedy of manners sets out a portrait of seventeenth century, Parisian aristocratic society; its foibles, hypocrisy and sycophancy. In 1996, Crimp updated the play to form a critique of London contemporary life and it has received further updates for its current showing at the Comedy Theatre.

My primary problem with the play was the various incongruities and inconsistencies of character. Why the upstanding and rigidly moral Alceste, who constantly denounces the triviality, selfishness and wantonness of society, should fall for Jennifer, the embodiment of all he hates, is hard to believe. Is love really that blind? Then there is Jennifer, infatuated with her own success and beauty, with a full score of sufficiently conniving and self-interested hangers-on. Is she shrewd or naïve? Naïve enough to spill the beans concerning her friends to a journalist and yet remarkably manipulative and perceptive when it comes to ensuring her status as queen of the day. Finally, the feminist drama teacher Marcia, who is at odds with the world of Jennifer and a figure of her derision, but who, despite all this, is unwilling to give up the showbiz society.

However, there are many clever aspects to the play: it is a touch of brilliance to have Knightly playing Jennifer, a young and beautiful actress. The ironic self-referencing that litters the play is often scathingly funny with comments, such as Jennifer’s that ‘the media’s fascination with me isn’t my fault’ which have a sharp ring of truth to them. Jibes are also made at Lloyd Webber, Tom Stoppard, Damien Hirst, politicians and the BBC, to name but a few.

I confess I did grow weary of the stock like nature of the characters – Alceste’s unrelenting frustration at the shallowness of humanity and Jennifer’s obsessive self-interest and flirtations. There are no surprises to the play - the audience is given no hope that Jennifer would ever desert the high-life for the romantic idyll that Alceste depicts. The final scene, with all dressed (except Alceste) in seventeenth century wigs and gowns, not only harks back to Moliere’s original but is a blatant reminder that, when it comes to human morality, nothing changes.

The Misanthrope is playing at The Comedy Theatre until 13 March 2010.