Molière's Dom Juan at La Comédie Française

Guess who.

On a recent stay in Paris JJ & I were able to attend 3 plays. The first was Molière’s Dom Juan at La Comédie Française. This is not my favorite of the Molière canon, but JJ contends that it is probably Molière’s most profound work.  Sadly, there were very few presentations & then the play fell into obscurity, much the same as a modern Broadway flop. Even these days French theatre producers know that Dom Juan is a hard sell when compared to Molière's raucous comedies.

Hallway: Marble busts EVERYWHERE!

Let’s put this in perspective. My choice would have been one of the comic plays, but when reserving from overseas, one gets what La Comédie is running. There is no doubt that just attending a play at La Comédie it's half the experience: old, roomy and historical, plush deep-red velvet seats and gilded extended balconies: an awesome facility. Whatever Molière was playing was a secondary consideration...pour moi!**

Would I lie?

But, maybe it wasn’t for the French audience who paid a pretty euro to hear Molière’s sublime alexandrines* so artfully delivered by brilliant, seasoned actors, whose voices ring out with no microphones. As the play got underway I was surprised at the reigning silence. In contrast to American etiquette, these Frenchies hardly tittered at jokes or stage business, & they never applauded until the curtain came down before an entr’acte, of which there were two. For Frenchies, I thought they were surprisingly reserved. Think about it. Americans think is nice to applaud at the close of a scene and to laugh appropriately to communicate their pleasure to the actors. (Oh well!) However, at the final curtain, the applause broke out and I didn’t think it would ever stop. The curtain opened about 10 times (yes, it did!) for elaborate bows, and then the audience began to clap in cadence for about 10 more curtains and bows. It was like they had kept it all pent up & then they just exploded. I began to feel sorry for the cast who must have been exhausted. 

All these empty seats will be filled by curtain.

But, Ole JJ was livid. The “enlightened” director decided to change the ending, though he did not change the text, which would have truly been a scandal. However, he changed it with stage “business.” Dom Juan did not go to hell, as he should have. When stage-hell opened up the Dom just ran off the stage with his trusty servant Sganarelle, free to perpetuate his evil deeds on more unsuspecting women. JJ and #7 agreed that the play was pointless if there was no justice rendered against the Dom. 

Pour moi, a simpleton, Molière’s great art with words and humor was to be found in the various scenes where the Don was trying to seduce women, noble or otherwise. The moral lectures of Sganarelle given to his wayward master are maximally philosophical and entertaining.  Molière’s brilliant word-play is easily enhanced by traditional 17th century stage business. & though the acting is mildly suggestive, it never becomes vulgar. In the world of Louis XIV all that is vile, bloody, or crude takes place off-stage, hence, the emphasis on beautiful, witty, or descriptive language. 

Imagine! This is THE very ARMCHAIR in which Molière had "une attaque" while playing the Imaginary Invalid (a tirade against M.D.'s of his times. He was carried off-stage to his apartment close-by where he died. Art imitating life? 

Call me shallow. It was all grand to me. The actors were scintillating. The sets and costumes a delight.  Even if I’ve never understood the attraction of this Spanish myth there was still a lot to enjoy.  

*French version of iambic pentameter
**La Troupe de La Comédie Française is an institution which was formed soon after Moliére's death. The actual hall which bears the name in these photos is a much later, lavish construction than Moliére ever knew.