The desire to disconnect completely from the world and hide away in a little cabin somewhere feels more present for me than it ever has before. Martin Crimp’s adaptation of Molière’s “The Misanthrope” had me relating to Alice, the titular character, on a very deep level. Directed for the stage by Indhu Rubasingham and for the screen by Christine Lalla, the National Theatre Live’s production of “The Misanthrope” is one which definitely belongs on the big screen!
Photo by Marc Brenner
Alice is a novelist, and a popular one at that, but she hates people. Not her best friend, John, who tries his best to help her smooth out her rough edges. Nor her boyfriend, Stephan, whom she’s rescued from certain social deaths after a messy divorce and years of substance abuse. But she detests everyone else. Alice’s latest novel is coming out, yet there’s no excitement in it for her as her past interviews and articles are coming back to haunt her; Alice refuses to participate in platitudes and insists on honesty at all times, no matter the cost. Now that cost is getting too great, and Alice isn’t sure what to do: does she give in to save face, or distance herself even further from society and attempt to disappear into obscurity?
Photo by Marc Brenner
To bring Moliere’s classic into a modern context not only serves the story well, but actually makes Alice a far more understandable character than Moliere’s Alceste. With our phones keeping us apprised of every little thing someone is saying about us, to the internet holding on to our past mistakes, it comes as no surprise to me that Alice is ready to just leave it all and hide away. We are inundated constantly with opinions, false information, and fake smiles – all things which Alice detests, and I genuinely think most of us dislike as well. Alice is able to see through all of these falsehoods, yet is left to feel like she’s the only one, as the people around her are perpetually trying to have her tone down her convictions while playing into these notions of “not ruffling feathers” and playing nice. Though I firmly believe that kindness is key, I was also able to appreciate Alice’s ferocity and where she was coming from; to be able to see through society’s nonsense while those you love fall for it is an isolating experience.
However, Crimp also did a marvellous job at tying “The Misanthrope” to its roots by leaving in the rhyming couplets which is such a unique feature of Moliere and his contemporaries. I always look for this in modern adaptations of Moliere’s works, and I was thrilled that Crimp was able to construct his script in the same manner.
Photo by Marc Brenner
Robert Jones’s set design fills the massive canvas that is the National Theatre’s stage; from posh hotels to the final scenes lit with seemingly hundreds of chandeliers, this larger-than-life design finds a brilliant new home on the silver screen. Jones’s costume design, for both the modern and 17th century clothing, is stunning. I love the juxtaposition of Alice and Stephan’s earthy tones to everyone else’s bold, bright colours. But that olive green is abandoned by Stephan for the final scene, showing a clear cut in his life from Alice.
Photo by Marc Brenner
Sandra Oh gives a career-defining performance as Alice. Taking her back to her roots in theatre, Oh gives a passionate and awe-inspiring turn in this classic tale. Tom Mison likewise gives a vulnerable side to Stephan which inspires empathy. Paul Chahidi’s John is compassionate and kind, but also not afraid of Alice. Chahidi gives John such a strong voice that John’s choice at the end of the play actually made me gasp out loud. Imogen Elliot and Freddie MacBruce bring the new tech and lingo to the piece through their roles as Esmée and Allen. Rina Fatania’s Indira is hilarious; she’s the kind of big thinker every PR firm could hope for. Abigail Cruttenden’s Claire is no-nonsense yet never quite seems to have anyone else’s best interests at heart other than her own. Jemima Rooper is intense, both physically and emotionally, as Elaine. She plays the manipulative ex with a coy grin and fire in her eyes. Arthur Blanc and Poppy Townsend White round out this stunning cast as Stephan’s children Benjamin and Madeleine; they’re definitely two names that London audiences should keep their eyes out for.
I love getting to see The National Theatre’s productions at Cineplex Cinemas; I’ve seen countless filmed versions of their plays, and therefore came prepped with many questions when I finally got to visit The National in 2013. “The Misanthrope” is a perfect production to add to The National Theatre’s canon of filmed plays, and certainly one you won’t want to miss while it’s on the big screen!
“The Misanthrope” comes to Cineplex Cinemas on September 24th. For showtimes and theatres, visit: https://www.cineplex.com/movie/the-misanthrope-national-theatre-live
Cover Photo: Sandra Oh and Paul Chahidi. Photo by Marc Brenner.
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