The Bungler (LATW/CD/2010/$26)
Jean-Baptiste Poquelin, aka Moliére, now thought to be one of the Grand Masters of the comedies of manners, died in his 52nd year of pulmonary tuberculosis , but only after mastering his craft, first as a comedic and tragedic actor (he acted in the plays of Corneille and Racine, both friends) and then as a world-renowned playwright. His greatest strength was marrying the rather basic commedia dell’arte style to a strong French technique of sharp-edged satire.
His THE BUNGLER (1655), a minor hit for the playwright, has been brought to the listener in a translation by the expert Richard Wilber. Set in Sicily, Moliére tells us of a brainy valet, Mascarille (Richard Easton), who, in the style of Figaro, tries to assist his master, Lélie (Adam Godley), win the young woman of his affections. But because Lélie is an imbecile of the first order, the younger man manages to bungle each of the extremely intricate schemes Mascarille comes up with. As the plots grow progressively wilder and more unreal, it would seem that nothing will work in this business of romance.
Moliere wrote in a specific rhymed meter, which Mr. Wilber has placed into rhymed couplets. And while the American poet and playwright knew what he was doing, unless the company performing Moliere is very careful with varying the rhythm, it can become quite tedious, which is what happens here. Director Dakin Matthews, no slouch in the classical acting style, has oddly cast his play older, which means that the voices begin, very quickly, to sound alike. Marvelous actors such as Easton, Godley, Alan Mandell, Christopher Neame, Mr. Matthews himself, and John Sloan come off well, but it is hard to follow the storyline.
One suspicions that these kinds of plays desperately need the visual component to allow for full understanding. While by no means a complete failure, it struck this critic as not up to snuff, with the hope that future comedies of Moliére will learn from its problems.