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written by Molière, directed by Jean-Stéphane Roy

Théâtre français de Toronto,

Berkeley Street Theatre Upstairs, Toronto

February 5-20, 2010

Stratford hasn’t staged a play by Molière since 2006 and neither has Soulpepper since 2000.  We’re lucky therefore that Théâtre français de Toronto has a commitment to producing a classic French comedy at least once a season.  This year is a double-bill, Les Médecins de Molière (“Molière’s Doctors”), that includes the famous Le Médecin malgré lui (“The Doctor in Spite of Himself”) from 1666 followed by the rarity Le Médecin volant (“The Flying Doctor”), Molière’s first play, from 1645.  Director Jean-Stéphane Roy emphasizes the playfulness of each piece so that the show is as much a celebration of theatre as it is of Molière.

        

The stage for both plays is an elevated wooden revolve.  As we enter we see the actors putting on their costumes and makeup out of trunks that are also part of the set.  Not only do the six actors play multiple roles but the roles are not necessarily cast according to gender.  In the first play the roles of the lovers are played by puppets and the role of the impossibly buxom Nurse is a costume played by whoever is holding it.  At certain points the cast is encouraged to ad lib.  Thus, the mechanics of theatre are fully open to view, and much of the fun of the show is our awareness of how much “play” makes up a play.  Roy’s emphasis is especially appropriate since the plots of both comedies involving role-playing.  In each an uneducated man is forced to play the role of doctor to cure a young woman.  She, however, is feigning illness to avoid marrying the man her father has chosen because she already loves another.  

Pierre Simpson is outstandingly funny in all three of his roles--a shrewish wife, a lisping lover and an ancient man.  Not only does he transform himself completely from role to role but his timing is absolutely superb.  Nicolas Van Burek has played so many serious roles before, it is pleasant surprise to see how adept he is at physical comedy when we plays the oafish “doctor in spite of himself.”  Vincent Poirier is an obvious talent to watch judging by his hilarious servant in the first play and his “flying doctor” in the second.  Some of Roy’s added stage business goes on for too long, like the pointlessly delayed entrance of the doctor in the second play, but overall his inventive ploys come across as wonderfully comic improvisations.  Roy shows Molière’s comedies’ clear links to the commedia dell’arte and comedy’s links to childhood play in general, making Les Médecins de Molière the perfect show to light up any evening.      

©Christopher Hoile

Note: A version of this review appeared in Eye Weekly 2010-02-10.

Photo: Vincent Poirier and Pierre Simpson.