ArtSavant - reviews

March 22, 2002

Don Juan

reviewed by
Matt Cosper

Seattle Rep presents a new adaptation of Molière's Don Juan, directed by Stephen Wadsworth, in association with New Jersey's McCarter Theatre, where it moves after its Seattle run. Wadsworth directs his adaptation with provocative fun, and ultimately successful results. This cynical take on hypocrisy, master-servant relationships, and the conflict of morals in the then newly dawned age of reason is augmented by Molière's love of commedia del' Arte and Wadsworth’s sophisticated and thoroughly modern way of handling this classic work. That is not to say that this is an update or a modernization. Wadsworth leaves in the breeches, waistcoats, and snuff, while bringing to light the humanity underneath. We watch this production, wondering if Wadsworth hasn't taken a play written today and decided to set it in the 17th century.

Wadsworth is a master director whose sense of rhythm, line and shape are second to none. Also arresting is his ability to so fully create a specific world on stage that even the most blatant anachronism is accepted by the audience (most notably a curtain call dance number that seems a hybrid of 17th century court masque and Madonna's "Vogue" video). His work on this production is beautiful, making a few small acting missteps bearable.

The production is acted uniformly well, and it is particularly a joy to watch Adan Stein as Don Juan (Adam Stein) and his servant Sganarelle (Cameron Folmar) interact. These two are opposites of the moral spectrum and push the action along. Folmar is, across the board, excellent as the pious yet realistic servant. He fawns on Don Juan one minute, and then gives him a sound tongue lashing the next (of course he is merely demonstrating to the Don what he would say if he had a master deserving of such a scolding). He is our voice, and quite a flattering voice at that. Stein turns in fine work as Don Juan, though I don't think that (as of the preview performance I saw) he had really taken the part for himself. He was still getting his feet, but judging from his performance, when he does get his feet it will be brilliant. He did capture the insouciance and petty indulgences of the spoiled rich boy, and managed to be despicable and charming simultaneously. Mary Bacon, Burton Curtis, Laura Kenny, and Francesca Faridany were standouts as well, turning in detailed and delightful portraits of broad comic peasants, imperious moneylenders, and defiled nuns!

All of this was completed by a set that was beautiful and beautifully out of the way. The lights and music, gleeful and elegant, filled in the empty space and surrounded the actors. I have rarely encountered a production design that worked as well as this one. This was an utterly unified show, all elements working together to create an aesthetically excellent and morally important piece of theatre, without any of the self-conscious, esoteric "classicism" that could have ruined this vibrant and vital production.

Matt Cosper, March 22, 2002