SMiser :Skimpy on faults

Thp Michigan Daily- Monday, February 16, 1987 - Page 9
'Beyond Surrealism'

By Karin Edelson
Is it any wonder that the
University Players' production of
Moliere'sThe Miser sold out every
performance this past weekend at
the Trueblood theatre? Not when
one considers the tremendous talent
and enthusiasm of the cast and the
amusing plot of this comedy.
Although there were a few minor
flaws, due mostly to the script
rather than the performances of the
eleven cast members, The Miser
was a truly light and entertaining
comedy with a small moral lesson
-to boot.
u Though each member of the cast
presented their character well,
certain individuals stood out among
-the rest. Sue Kenny, whose vibrant
axed hair and extremely provocative
costume illuminated the stage in all
nf her scenes, became one of the
high points of the play. Her
-character was also allowed more

depth than many of the others as a
money-hungry schemer who tries to
swindle some of the Miser's
money. Kenny also receives four
stars for managing to remain in her
low-cut gown throughout the entire
performance, with only a few close
calls, which the male members of
the audience appplauded.
Bill Downey, who played
Harpagnon, the Miser, was
certainly deserving of the part. His
physicality was convincing as the
old Miser, including his stooped
posture, slow and awkward walk,
and the jiggling movements of his
hands and feet. Best of all was his
handling of his spectacles with ex -
tremely shaky hands, taking a long
time to put them on and off his
nose. Regardless of how many
times this was repeated this, it was
always hilarious.
The costumes, designed by
graduate theatre student, Susan
Attea, were very elaborate, and each
was indicative of the personality of

the character who wore it. It was
apparent that a great deal of effort
went into the production of these
eighteenth century clothes and they
greatly increased the quality of the
play.
While I enjoyed most aspects of
the production, there were a few
points that weren't up to par. The
second act wasn't nearly as amusing
as the first, and the overly corny
ending was a disappointment. This
may have been due to Miles
Mallson's reworking of the original
script. Fortunately, the cast
overcame these flaws by
deliberately overacting at the end,
acknowledging that the conclusion
was too unbelievable. In addition to
the ending, two of the characters
were not presented adequately. Too
much attention was paid to
Mistress Jeanne, the household
servant and not enough was given
to LaFleche, a servant to the Miser
who succeeds in stealing his
money. Because his character was

(Continued from Page7)
One does not need to see any hidden
meaning in most of the pieces for
them to be enjoyable, for they are
intended to provoke the viewer's
own imagination and are left open
to his or her own interpretation.
Overall, this cerebral collection
of pieces illuminates a side of
Ernst's career and personality which
often goes ignored when the artist's
career is examined. The multi-
dimensional nature of the works and
their undeniable ties to academic
studies and print media extend the
viewer's perception of Ernst, his
surrealist colleagues, and modern-

day notions of art altogether. This
exhibit exemplifies both the
collaborative nature which marked
Ernst and the surrealists work
habits, and the unique quality
seperating Ernst and placing him on
a unique level. The refusal to obey
traditions and trends of any sort
which dignified Max Ernst's long
career is examined entertainingly,
and concisely in "Max Ernst:
Beyond Surrealism." Both the
experienced and casual viewers are
offered a tantalizing piece of the
puzzle comprising the life and work
of the artist.

Blu uowney was a paticuar stan-
dout in the University Players
production of Moliere's 'The Miser.'
underdeveloped, his motives for
stealing the money were unclear.
Despite these few problems of
the script, director Richard Klautsch
and his cast managed to present an
amusing, as well as cohesive
performance.

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