School for Wives at the Gladstone. A text that does not live up to the fine work on stage.

Photo. Erin Finn

There is good and bad news about the production of Molière’s The School for Wives that opened at the Gladstone Theatre on September 12.

The good news about the SevenThirty/Plosive Productions co-pro is that it is beautifully directed, well choreographed and features some strong performances, particularly from Andy Massingham, all in keeping with the period and form.

The bad news is that the translation by David Whiteley, while generally retaining the rhythm of the Alexandrine style of verse, is vulgar and jarring. Too frequently, modern colloquialisms, minor swear words and out-of-place slang scream irreverence for a classic and the inappropriate wording all but kills John P. Kelly’s fine staging.

In general, wording that jolts and harms the flow of the action is a communication block. Therefore, despite Whiteley’s claim that he aims at “right here, right now” in his version, and his declaration that he has shifted his School for Wives to suit “modern sensibilities” the result is insensitive, ugly and focused on cheap laughs. (Heaven help us if modern sensibility is defined by being “pissed off,” bathroom humour and references to body parts.)

It is a terrible pity that the text doesn’t live up to the fine work on stage.

The School for Wives continues at the Gladstone Theatre to September 27.

School for Wives by Moliere, new translation by David Whitely

SevenThirty Productions

Director: John P. Kelly

Choreographer: Andy Massingham

Sets and Lighting: David Magladry

Sound: Steven Lafond

Costumes: Patrice-Ann Forbes

Cast:

Arnolphe…………………………. …Andy Massingham

Agnes………………………………. Tess McManus

Horace…………………………….. ..Drew Moore

Alain………………………………… David Benedict Brown

Georgette/Enrique…………………….Catriona Leger

Chrysalde/Notary……………………..David Whiteley

Oronte..……………………………….David Benedict Brown