“Tell me lies, tell me sweet little lies…”
-Fleetwood Mac
Due to Hurricane Florence, The Liar will end its run tonight!
There are plenty of lies in South Carolina Shakespeare Company’s production of The Liar, previously scheduled to run through Saturday at Columbia Music Festival Association, and not all of them are sweet or little. Actually, there are some absolute whoppers thrown down in this hilarious prevarication-palooza, which playwright David Ives has skillfully translated and peppered with contemporary references, some Shakespeare here and there, and just a hint of sympathy for the eponymous character. Based on the 1644 French comedy, Le Menteur, by Pierre Corneille, the plot is a delightful confection, with a storyline straight out of an episode of Three’s Company. Misunderstandings and mistaken identities abound, lechery is played for laughs, and the bungling anti-hero grows increasingly frantic as his schemes unravel. A somewhat deus ex machina conclusion solves everything by play’s end, and The Liar becomes an honest man…perhaps.
The show opens with a hilarious introduction by Cliton, manservant to Dorante, (who is the titular liar.) As Cliton, Sam Hetler hits the bull’s-eye with his interpretation of the servant who is much more intelligent than his master. Though this archetype is a stock character in farce, Hetler brings a freshness and sincerity to the role. His is the only character to “break the wall” and address the audience, until Dorante concludes the show with a brief address. Hetler’s opening monologue is part rap, part straight pentameter, and part free-style. Were it not for his period costume (more on that in a minute), one might mistake him for the hands-down winner of an open-mic poetry slam. With his witty delivery and slightly-put-upon demeanor, Hetler masterfully draws the audience into the tale from the very beginning.
Played by SCSC regular, Jeff Driggers, Dorante is an eager young man who abandons his study of Law to experience all the pleasures and diversions of Paris. (In a delicious twist of irony, Dorante is practically incapable of telling the truth, while Cliton has a comparable inability to tell a lie.) As Dorante, Driggers is a veritable dervish for most of his stage time. Constantly in motion, telling one falsehood after another, with his anxiety growing with every close call, I couldn’t help thinking of The Music Man, and how Driggers is surely destined to play Professor Harold Hill someday. His energy is seemingly boundless, and his delivery and timing are outstanding. My one complaint was that occasionally he spoke so quickly in his con-man patter, I had a difficult time catching each word, but his absolute commitment to the role and slightly over-the-top physicality left no doubt as to his meaning.
Soon enough, he meets two lovely young women, Clarice (Hillary MacArthur), and her friend, Lucrece (Mary Miles). Immediately proving himself a BS artist extraordinaire, he regales the ladies with stories of his battlefield heroism against the German Army. He immediately falls for Clarice, only to misunderstand when Lucrece’s maid, Isabelle, (Brittany Hammock, who turns in a delightful double role) describes her mistress as “the most beautiful one,” and sets his cap to win his inamorata, whom he now thinks is named Lucrece. The three female actors have no difficulty in keeping up with their male castmates, delivering unique, individual, characters who manage to create a cohesive trio (quartet?) without sacrificing or diluting any of their differences. Miles’ Lucrece is appropriately befuddled, without ever resorting to caricature, and uses her facial expressions to communicate just as clearly as her voice. As always, her time onstage is professional and artfully crafted. (After the show, I commented to Miles that if ever I open a playbill and see her name, I know to expect a high-quality performance, and The Liar was no exception.) As Clarice, MacArthur demonstrates not only comedic proficiency, but also an ability to play her unhappy moments with authenticity, while never compromising the overall texture of the silliness surrounding her. Although frequently distressed, MacArthur also provides a sort of calm within the chaos, treating the audience to a layered and complex character. Hammock, with a distinctive half-flowing, half-braided hairdo adding to the illusion, also plays Isabelle’s twin sister, Sabine, who just happens to be Lucrece’s maid. Though played by the same actress, the two roles are somewhat Jekyll-and-Hyde in their differences. Hammock proves that she can play sweet and salty with equal aplomb, and creates two characters with easily-identifiable differences in style and temperament, though I wouldn’t have minded a tiny costume change, such as a hat or scarf, to further punctuate the duality of the roles.
Things get even more turned-around when we meet Alcippe, Dorante’s best friend. Did I mention that Alcippe is engaged to Clarice? The traditional Comedie –Francaise misconceptions and mutually cloudy understandings leave Alcippe constantly vacillating between fury and thick-headed amiability. As played by Josh Kern, Alcippe has the capacity to turn his emotions on a dime (centime?) and clearly revels in playing a hothead and a pleasant fop. Having worked with Kern several times over the last seven or eight years, I have enjoyed watching a kid with a hell of a lot of raw talent grow into a seasoned pro who is quickly mastering his craft.
Also in the melee are Alcippe’s friend, Philiste (Morgan Wood) and Dorante’s father, Geronte (Douglas McConnell), who further complicate matters through relaying inadvertent half-truths and misinformation (Philiste), and arranging for Dorante to marry Clarice, whom Dorante thinks is named Lucrece. While these two roles are somewhat smaller than the rest, both Wood and McConnell make the most of their onstage moments, matching the rest of the cast in skill and commitment to the “reality” of the script.
A story about a midnight boat ride, a hilariously mimed duel, and countless moments of ensuing confusion add to the insanity, with a tidy-if-contrived happy ending for everyone. Director Scott Blanks clearly had a good time creating the frenetic insanity of the piece, yet never allows the chaos to go too far off the rails. Discipline and precision are essential when half the characters are frequently out of control, and Blanks expertly keeps the lunacy tightly blocked and well-rehearsed.
Costume Designer Janet Kile made the interesting choice of dressing each character in a combination of classical and contemporary fashion. (Kern’s plush blue great-coat and Driggers’ ornate vest work particularly well with blue jeans.) While not at all distracting, the costumes helped establish the timelessness of the plot, as does modern scene-change music. (Lady GaGa’s “Bad Romance” was an especially nice touch.) As Cliton, Hetler was the only character to appear in all-period dress, which served his character well, as he not only opens the show by addressing the audience, but comments frequently on the wild events that sweep him along for the ride.
The Liar is a perfect show for those who love classic farce, but it never shies away from its moments of modernity. Playwright David Ives not only translated, but also re-wrote parts of the script, adding multiple modern-day terms and expressions. As with Kile’s costumes and the 21st century music, the dialogue occasionally reinforces the message that similar shenanigans go on in 2018 as went on in 1645.
-FLT3
Frank Thompson is proud to serve as JASPER’s Theatre Editor, and can be reached via email at FLT31230@Yahoo.com
