The Theater at Monmouth’s production of “The Miser,” by French playwright Moliere, is a stunning success, bringing a classic play to life with the splash and color of the period while keeping it light, accessible and fast-moving.

“The Miser” is the story of a man so greedy, so obsessed with money, he will use any method to keep it, even at the expense of his children’s happiness. His obsession makes him prey to the greed of others and is his own undoing. This Louis XIV period satire is as caustic and on the mark today as it was at the time.

Michael O’Brien in the role of Harpagon, the miser, is masterful. He brings energy and life to the role, allowing him to range into farce when the play goes there. Most often he controls his performance so he is usually believeable and not caricature nor dislikable curmudgeon. On stage most of the play, the miser is a taxing role, demanding tremendous energy playing a 60-plus-year-old man who has plenty of get up and go when he is getting up and going after his gold.

The part of Elise is so perfectly timed and nuanced by Joan Jubett during the first part of the play, I was disappointed it faded out until the end. She has found that fine point where frenetic energy is perfectly controlled and the lines are all perfectly intelligible.

In the role of her brother, Cleante, David Harbour steps over the line, his massive energy verging on bad temper instead of temper tantrum. There are moments when lines are lost because the audience is not given time to laugh.

The part of Frosine is a classic: the woman with money and personal preservation on her mind, reminiscent of Mae West and other “bad girls we have known.” Chloe Leamon is all tight-lipped smoothness with the cutting asides. Perfectly modulated to the ups and downs of the situations around her, one moment hard, one moment soft, always out for number one, she is bargaining and selling to and for everyone and you love her. My hat is off to someone who can talk through her teeth and be understood.

Dana Claire Gotlieb as Mariane plays a part that requires acting to the point of caricature. Creating a stunning, funny physical part, she shows she is master of the sight gag. Unfortunately, she often grinds and masticates and purses and pouts until those funny little lines Moliere threw in are lost.

The cast works well together and the effect is beautiful, a well-performed dance with many people on stage. Two collage pieces open the acts, establishing the near farcical level which then follows.

Charles Weinstein stands out in the smaller role of Jacques, the cook and livery man. His moments are small diamonds. He takes complete control of the stage, often challenging O’Brien for the attention of the audience, even if only for a moment.

Hats off to Jane Snider, whose costumes are elegant, eye-pleasing and capable of surviving the rough and tumble of the actors. The ladies’ gowns are lovely affectations of the period and sometimes pawns in the farcical game of seven exits.

The sets are sparse, functional and workable. Now, would someone fix the French doors so they don’t look like they are going to collapse every time someone uses them. Sometimes the light changes were so abrupt they were distracting. But any reservation or criticism is minor.

If you have never seen this show, go. This is a great classic done with style and flair. The direction of Robert Walsh is clear and strong. In spite of sluggish moments in the first act, it is a fast, fun evening at the theater. If you have seen the play before, see it again.

To quote Frosine, “Bait the hook with a man’s weakness and watch the fish bite.” This is my weakness, great theater well done.

“The Miser,” is running in repertory at The Theater at Monmouth through Aug. 30 with Shakespeare’s “A Midsummer Night’s Dream” and “Hamlet,” William Nicholson’s “Shadowlands” and “Aladdin.” For tickets and information, call 933-9999.