REVIEW: Moliere in the Park’s ‘The School for Wives’ a twist-filled comedy of scheming proportions

What truly makes one person love another? 

Moliere in the Park begs this question while addressing gender stereotypes and takes an at times tongue in cheek look at what makes a good wife in The School for Wives, a classic comedy by French playwright Moliere first making its stage debut in 1662.  Translated by Pulitzer Prize-winner Richard Wilbur with French subtitles, this virtual romantic comedy in five acts has plenty of twists and turns on the road to love and made its live streaming debut on October 24 with the recording available through October 28 on Moliere in the Park’s YouTube channel. 

The cast of Moliere in the Park’s ‘The School for Wives’ Photo courtesy of Moliere in the Park

Moliere in the Park is dedicated to inclusive, just, and free theatre.  Click here for more information.

Set in Brooklyn, NY, Moliere in the Park’s The School for Wives uses its creative technical wizardry to meet Covid-19 standards with enhanced, virtual sets by Lina Younes transporting actors from a regal city garden to a carefully-detailed bedroom to an inviting cafe.  At one point, it also gives the illusion that the characters are all together.  Ari Fulton’s colorful costumes stay faithful to the time period while providing a certain modern edge.   

Kaliswa Brewster (Horace), Mirirai Sithole (Agnes) Photo courtesy of Moliere in the Park

Directed insightfully by Lucie Tiberghien, ‘The School of Wives’ is punctuated by its intriguing and catchy dialogue as well as its flipped gender roles.  Older and wealthy Arnolphe (Tonya Pinkins) thought he has his love life figured out until Horace (Kaliswa Brewster) makes him rethink his road to love with sweet and virtuous Agnes (Mirirai Sithole).  Each character is well developed, but what truly shines is the fleshed out philosophies and misconceptions of what makes a good woman and a good wife while exemplifying what truly makes a good man and husband.   

Tony Pinkins skillfully depicts the well-spoken and arrogant Arnolphe as a myriad of emotions cross Pinkins face in a single scene.  From a biting temper to soft chuckling to a Cheshire smile, Pinkins seamlessly illustrates Arnolphe’s constant inner conflict.   Ever the focused manipulator, Arnolphe’s vibrant scene-stealing gravitas keeps you engaged no matter how complicated his situation becomes.

Kaliswa Brewster (Horace), Tonya Pinkins (Arnolphe) Photo courtesy of Moliere in the Park

Kaliswa Brewster’s thousand-watt smile brings glowing charisma to young Horace, his youth shining through his outspoken candidness and confidence.  Pinkins and Brewster are best as they hide their veiled intentions from each other, carefully holding all their cards at bay.

Virtue takes form in Mirirai Sithole as Agnes, a wide-eyed, sympathetic creature who hides a secret.   Sithole’s carefully delivered dialogue and angelic, learned mannerisms keeps her fascinating and complicated in a demure pink headpiece and dress.

Tonya Pinkins (Arnolphe), Mirirai Sithole (Agnes) Photo courtesy of Moliere in the Park

Peasants Georgette (Tamara Sevunts) and Alain (Corey Tazmania) offer comic relief as frenzied servants of Arnolphe.  Anxious, obedient, and scrambling to meet Arnolphe’s demands, they are a fanatical and sympathetic pair whose often bewildered expressions makes one think they may have just ended up in the wrong place at the wrong time.

Tamara Sevunts (Georgette), Tonya Pinkins (Arnolphe) and Corey Tazania (Alain) Photo courtesy of Moliere in the Park

Moliere in the Park’s The School for Wives takes an enlightened look at love while the play unquestionably sets the foundation for today’s romantic comedy tropes.  Its rich, inherent message never lacks humor or sincerity when it comes to the unpredictable path to true love. 

REVIEW: A compelling, trailblazing journey through Boston Ballet’s rEVOLUTION

Having been thrilled with Boston Ballet’s Full on Forsythe at around this time last year (see the review here), it was with great excitement to witness Boston Ballet’s rEVOLTION, a dynamic performance featuring three innovative works that transformed ballet forever.

From catchy R&B to electronica to soul, Full on Forsythe was a showstopper, dispelling any preconceived notions about ballet.  Truly ‘dance on the edge,’ Boston Ballet’s rEVOLUTION explores three works in ballet’s history where visionary and brilliant choreographers paved the way toward a new and unforgettable form of ballet, breaking a few rules along the way.  Each versatile piece in rEVOLUTION builds in intensity while progressively becoming more contemporary and well deserving of the audience’s thunderous applause at its conclusion.

Boston Ballet continues rEVOLUTION through Sunday, March 8 at Citizens Bank Opera House in Boston, Massachusetts.  The show runs two hours including two intermissions. Click here for more information and tickets.

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With music by revered Russian composer Igor Stravinsky, choreography by George Balanchine, and colorful staging by Paul Boos, Agon seems traditional featuring a live orchestra conducted by Mischa Santora.  However, right down to the simple costuming including streamlined white shirt and black tights and accompanied by Agon’s triumphant, horn-infused rhythm, it becomes a piece unlike anything traditional ballet has seen before. More artistically-focused than plot driven, agile dancers shift into impressive and sometimes jaw dropping shapes while spinning joyfully.  Each piece features athletic and daring moves, but the Pas de Deux between Lia Cirio and Paula Arrais is a particular highlight as they curve and move together en point and as one.  It ends like it begins and stands as its own work of art.

Ballet takes a bit more of an eclectic, modern tone in Glass Pieces with choreography by Jerome Robbins and music by Philip Glass.  From Jennifer Tipton’s dramatic lighting to the expressive and colorfully rich costumes by Ben Benson, Glass Pieces is still the gem it was when it premiered during Boston Ballet’s Genius in Play in 2018.  Taking place in what looks like a subway station, Glass Pieces has a palpable rhythm and urgency as dancers are unleashed into a celebration of dance in the city.  In ordinary life, there is joy.

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Lia Cirio and John Lam perform a tender and stirring duet while dancers move in shadow during Glass’s romantic song, Facades.  However, it is easy to see Robbins’s influence during Glass’s catchy, drum-infused Funeral as male and female dancers urgently form two groups before encircling each other and coming together.  Robbins also choreographed the musical classic, West Side Story.  From a plain landscape into a spectrum of color, Glass Pieces transforms into a splendid piece of artistry as dancers perform in a variety of styles in silhouette, reflective, and in unison.

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As silver headphones dangle from the ceiling aloft a black backdrop as starting with a jolt, it’s clear that In the Middle Somewhat Elevated would take ballet to another level.  Featuring music by Dutch composer Thom Willems in collaboration with  Lesley Stuck, thrilling lighting by Jennifer Tipton, and choreographed by William Forsythe, In the Middle Somewhat Elevated is a cutting edge masterwork clearly ahead of its time.   The industrial, tribal feel of Thom Willems music as dancers shift in shadows create a haunting intensity.  Featuring vigorous, jaw dropping footwork bending in what seems like impossible angles, this fast paced performance keeps you riveted from start to finish.  Lia Cirio, Patrick Yocum, Chyrstyn Fentroy, Maria Alvarez, Ashley Ellis, Lawrence Rines, Irlan Silva, Mallory Mehaffey, and Abigail Merlis seem part of a seamless machine as dancers spin and swing, hitting every last eccentric beat.

Boston Ballet Warm Up

Boston Ballet’s The Warm Up Photo by Jeanne Denizard

The Boston Ballet continues to offer an opportunity to learn more about ballet through The Warm Up, an interactive display located in the lobby.

The Boston Ballet continues rEVOLUTION at the Boston Opera House, 539 Washington Street in Boston, Massachusetts through Sunday, March 8.  Click here for more information and tickets.  For future events and more, follow Boston Ballet on Facebook and Twitter.