THEATER REVIEW -- Tom Titus

South Coast Repertory has enjoyed a long and happy association with

Moliere, beginning in 1965 with its freewheeling adaptation of

“Tartuffe,” which introduced the young company to local audiences who

even then liked their Moliere served up with plenty of relish and more

than a pinch of spice.

Those audiences would have a banquet today with SCR’s latestMoliere

play, “The School for Wives,” a very modern (1997) translation of this

comedic classic that first saw the light of day in 1662. The genesis may

be 17th century France, but the dialogue is peppered with more familiar

Anglo-Saxon verbiage.

Between Ranjit Bolt’s streamlined translation and director David

Chambers’ rollicking farcical treatment, “The School for Wives” is as

fresh and funny as if it were created in the 21st century. No mannered,

drawing room comedy, this “School” is played out on the street in a style

hilariously bordering on Marx Brothers slapstick.

There’s little mystery as to why this treatment works so wonderfully

well. It’s because SCR has recruited the awesome comic talents of Dakin

Matthews (who may be remembered in a more somber light from SCR’s

“Shadowlands” a few seasons back) as Arnolphe, an egocentric, middle-aged

fellow who chose his intended bride when she was 4 and has kept her

cloistered from the company of men ever since.

Arnolphe, who has made a career of cuckolding other men, isobsessively

determined to keep the horns from his own countenance. So when his

beloved Agnes (Emily Bergl) catches the eye of a younger swain (Daniel

Blinkoff), Arnolphe’s boiling rage approaches Vesuvian proportions.

Matthews spends a good portion of the show in this fashion -- steaming

and reddening like a 17th century Ralph Kramden as events play out to his

disadvantage. With seemingly 90% of the dialogue and nearly 100% of the

stage time, Matthews clearly dominates the proceedings and does so with

superlative comic style.

As the younger rival, Blinkoff tears through his role like a man

possessed, expending considerable energy in his quest for romance. His

scenes with Matthews, who has unwittingly lent him the funds to pursue

his venture, are priceless. Blinkoff’s physical vitality contrasts

splendidly with Matthews’ cunning and guile.

The virginal Agnes, with a sweetness and subservience straight out of

20th century Stepford, is beautifully rendered by Bergl, who only late in

the play gives her character free intellectual rein. Feminists may gag at

this interpretation, but it’s exceedingly funny nevertheless.

SCR’s founding artists have some great fun in background roles,

particularly Hal Landon Jr. and Martha McFarland as a pair of the

dullest-witted servants you’re likely to encounter on any stage. Richard

Doyle doubles delightfully as a goofy notary and a staid nobleman, while

Don Took arrives near the end of the play to help set things right as a

long-lost guardian.

Completing the cast is Francois Giroday, who adds a dash of French

authenticity to his role as Arnolphe’s comrade and confidant.

Darcy Scanlin, who designed the imposing and futuristic-looking set

for “Bosoms and Neglect” last season, returns to fashion a more colorful,

equally dominating backdrop for “School for Wives” that establishes the

modernistic tone of the production. Shigeru Yaji’s costumes and Chris

Parry’s lighting effects further complement the show’s the visual

richness.

“The School for Wives” may be some 340 years old and related in

passages of verse, but it’s one of the freshest, funniest and, yes, most

modern productions of the season on any stage. And Dakin Matthews’

performance is not to be missed.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Thursdays and Saturdays.

FYI

* What: “The School for Wives”

* Where: South Coast Repertory, 655 Town Center Drive, Costa Mesa

* When: 8 p.m. Tuesdays through Fridays, 2:30 and 8 p.m. Saturdays,

and 2:30 and 7:30 p.m. Sundays until Feb. 10.

* Cost: $27-$52

* Call: (714) 708-5555