`The Miser’ engaging, energetic > Drama, plot twists make Acadia play a success

A 17th-century Paris manor home, a greedy old miser, his lovesick children, a wide array of scheming servants and advisors and hilariously unpredictable plot twists. Combine these elements with a wonderfully energetic and engaging cast and you have Acadia Repertory Theatre’s production of “The Miser” by French playwright Moliere.

The production, which opened July 28 in Somesville, is the third of four shows featured in the company’s 26th summer season. “The Miser” will run through August 9 and again August 25-30.

Cleverly directed by Wayne Loui, Moliere’s funniest farce is the tale of, believe it or not, a miser. The scene is set in the home of Monsieur Harpagon, an extremely wealthy, but incurably greedy man. Harpagon’s two children, Elise and Cleante, resent their father’s tightfisted manner and long to be free of both him and his unreasonable plans for their futures.

Harpagon wishes to arrange the most cost effective marriages for his children and decides on a wealthy widow for Cleante and the kindly, yet aging Seigneur Anselm for Elise. Both children are horrified, for their loves lie elsewhere. Elise wishes to marry Valere, her father’s most trusted advisor and confidant. Cleante has fallen for the young Mariane, a new neighbor. In an interesting plot twist, Harpagon has chosen Mariane to be his new wife, unaware of his son’s feelings for the girl.

In the drama that ensues, the characters weave a ridiculously comedic web of deception and trickery in an attempt to cheat Harpagon out of both his money and his bride-to-be. Ken Stack, as the miser, is ceaselessly entertaining with his dry sense of humor, sarcastic asides to the audience and surprisingly agile movements despite his crippled character.

Laura Ann Hodos is priceless as Frosine, the cunning matchmaker who is a match for Harpagon in both greed and deception. With an endearing and understated demeanor, Alan Gallant, in the role of Valere, subtly and successfully fools the miser as well.

David Wilson Barnes also delivers small, but notable, performances in the roles of Master Simon, a moneylender, and Seigneur Anselm. With a uniquely expressive face, Barnes brings fresh humor to his cameo roles.

Under Wayne Loui’s direction, the production runs very smoothly. Scene changes are quick and the pace and energy never slow or wane. An amusing artistic touch is the melodramatic violin music which inexplicably begins each time Cleante speaks of his love for Mariane.

The simple set of a room in Harpagon’s home is both practical and appropriate. In many ways, the cozy theater seems to be an extension of the room, and the audience is brought into the exciting world of these talented performers.