Greasy Joan's modern flair enlivens Moliere
The mission of Greasy Joan & Co. as expressed in rhyme, involves re-imagining classics for contemporary times.
For its first foray into the oeuvre of Moliere, the company chose "The Misanthrope," a satire where frustrated protagonist Alceste condemns a corrupt society for its false sincerity and endemic hypocrisy.
But that's not all Kevin Cox's clever Alceste criticizes.
It's also simple niceties this intriguing contrarian despises, like social customs and little white lies necessary for social discourse in these and all times.
"Unfair criticism, unearned praise, it's all one comes across these days."
Yet the brutal honesty he advances is unacceptable (and unkind) to the masses.
Cox's acting is nimble and vocally rich, his rumbling voice set at just the right pitch.
Alceste's kindly pal Philinte advises compassion and urges forgiveness.
He's played with boyish charm by the amiable Alex Goodrich.
Eliante (pert, personable Kristina Klemetti) offers similar advice.
She's perceptive, romantic and really quite nice.
Love, she insists, overlooks the beloved's faults.
One loves, "not warts and all, but for each wart."
Alceste stands firm with one exception: the lovely and popular Celimene (smart, alluring Kate Cares), the object of his affection.
An incorrigible flirt, she gossips and fawns, charming a pair of preening pawns.
Seemingly cruel, she's intellectually quite fit; she understands the power of gossip and how to use it.
Clitandre (Dan Behrendt) and Acaste (Carlo Lorenzo Garcia) fall under her spell. So does Alceste, and loving her puts him through Hell.
Torn between affection and disapproval, he wants to take her away from society, remove her from no-talent poets like the fussy Oronte, a thin-skinned fop very well played by Matthew Sherbach.
Sherbach earns sympathy for this buffoon in the end, exiting with Oronte's tattered dignity wrapped about him.
Lastly there's Carol Enoch's falsely pious prude Arsinoe, a jealous woman, neither Alceste nor Celimene wants to know.
Libby Ford secured a plucky young cast for her sassy production, which owes much to Ranjit Bolt's witty translation.
His dialogue includes lines like "your uppence has now come," that are quirky and sly and quite a lot of fun.
The action unfolds not in a 17th century French salon, but in Kevin Depinet's crumbling urban crash pad, a space whereupon hipsters converge and grunge chic is the design style.
The kind of place where Liz Phair might have penned "Exile in Guyville."
Lindsey Pate's glam costumes come in a variety of hues: gold, fuchsia and robin's egg blue.
Leopard prints, animal skin stoles and fishnet hose distinguish these flashy, "Velvet Goldmine" inspired clothes.
Greasy Joan puts a fresh spin on a classic play, whose message still remains relevant today.
To live happily in society and be much admired, tolerance and forgiveness are what's required.
"The Misanthrope"
Rating: 3 stars
Location: Athenaeum Theatre, 2936 N. Southport, Chicago
Times: 8 p.m. Thursdays to Saturdays; 3 p.m. Sundays through April 5
Running Time: About 2½ hours with intermission
Tickets: $10-$20
Parking: Street and paid lot
Box office: (312) 902-1500 or greasyjoan.org
Rating: Suitable for adults