Tag Archives: Moliere

A Child of the Theatre Part IX: Comedy is Hard

There’s a old adage in the theatre: Dying is easy, comedy is hard. That’s probably why I remember so clearly my first comic bit. It was in The Imaginary Invalid. I played Louison the youngest daughter of Argan the invalid.

Characters (Alexis Bell, Other) in The Imaginary Invalid (1988)
Argan (David Brigham), Louison (Alexis Bell) in The Imaginary Invalid (1988)

My one scene was rather simple. Argan wants to find out from Louison about the man her older sister is in love with. When Louison won’t tell him, he tries to beat it out of her, but she outsmarts him, by instantly playing dead, until he repents having killed his daughter.

We played this scene by having me run behind a large wooden chair. David Brigham, the actor playing Argan, would strike the back of the chair with his stick well above my head, and then I made a comic scream and played dead.

One day in rehearsal I had an idea, and I shyly approached the director and asked if when David hit the chair, I could throw the small stuffed clown I was carrying up into the air. The director approved, and so night after night I would run behind the chair and when David struck it, the clown would go sailing comically high into the air, and the audience would laugh.

Nine years old and I was already a comedic genius.

Imaginary Invalid – Season Eight

A couple of lessons well learned from our seventh season: Don’t cut; don’t mix genres, styles, or voices in a single evening’s production. The first lesson proved its value in our opening show: The Importance of Being Earnest. We did not do the standard received version of the play which is Wilde’s cutting of his original four-act play. We did our reconstruction of his original version from a compilation of drafts and hand-written and typed fragments preserved in a limited edition of the play we found in the rare-books room in Norlin Library. As far as we know we are the only company ever, in the English-speaking world to have produced that play. (There is some evidence Wilde’s original was sent off to a German translator, for there is a record of a German version, Ernst Sein!, with “major additions of unknown authorship.”) Anyway, more about that another time.

The Importance of Being Earnest (1987)
The Importance of Being Earnest (1987)
But we closed our eighth season with Molière’s The Imaginary Invalid and there is perhaps no play that violates our second rule more thoroughly. It’s Molière’s last play and it is—mostly—a conventional seventeenth century French farce. Argan, a hypochondriac, tired of paying physicians to cure his imaginary illnesses decides to marry his daughter to a physician so he can get free health care. There is a sub-plot in which his wife, Béline, tries to get him to change his will to give everything to her. The first act ends with these two plots established. Angélique, his daughter, asks Toinette, her maid, to contact Cléante, her lover and enlist his aid. Toinette says:


“There’s no one I can get to do it except the old loan shark Pulchinello, my admirer; and it’ll cost me a couple of sweet words, but I can spare them for you.”


Richard Bell in The Imaginary Invalid (1988)
Richard Bell in The Imaginary Invalid (1988)
Then there is an interlude. Pulchinello enters. Pulchinello! He is a continuing character in Italian commedia del’arte, the source of our Punch. He enters and sings a comic love song in Italian to an old woman, not Toinette, who rejects him. Then he is accosted by a dozen or so “archers” armed with slap-sticks who beat him until he gives them money. There really is such a thing as a slap-stick. It looks something like a cricket bat, but it is split down the middle so when you hit something with it the two halves, momentarily separated by the swing, hit each other with a loud clap. We built a dozen of them. The interlude has nothing whatever to do with the play; it does not advance the plot, it’s style is totally different, and every translation of the play into English I could find on the internet simply ignores it. They all simply say “First interlude” and go on to Act II.


The Imaginary Invalid (1988)
The Imaginary Invalid (1988)
Act II continues the plot. There are scenes between Argan and various doctors, love scenes between Angélique and Cléante, and then the second interlude: A musical number by a half-dozen Moorish women, followed by a ballet done by them and some unspecified number of monkeys. Yes, monkeys. We could have done the Moors; the women in the show could easily have put on some sort of robe to suggest Moorishness and danced, but not a single monkey showed up for auditions so we did the best we could: we staged a comic ballet.


Characters (Joan Kuder Bell, Katherine Dubois Reed) in The Imaginary Invalid (1988)
Characters (Joan Kuder Bell, Katherine Dubois Reed) in The Imaginary Invalid (1988)
Then Act III. Argan’s brother, Béralde shows up and persuades Argan that even better than having a doctor as his son-in-law is becoming a doctor himself. And all he needs to become a doctor is to learn a little Latin. (This may be pretty close to actual seventeenth century medical science.) Here’s how Act III ends:


Toinette: What’s your plan?
Béralde: To have a little fun this evening. The actors have prepared a little interlude about the investiture of a doctor, with music and dance; I want us to all take part in the entertainment, and I want my brother to play the leading role. We can each take a character, and perform the interlude for ourselves. After all, this is only a play.


Characters (Katherine Dubois Reed, Others) in The Imaginary Invalid (1988)
Characters (Katherine Dubois Reed, Others) in The Imaginary Invalid (1988)
“After all this is only a play.” Could you end a play like Hamlet or Lear or Death of a Salesman with a line like that? So I think what I said about consistency of tone and style is only true of serious drama. Shakespeare could violate this rule; there are comic scenes at critical moments in many of his tragedies, but just because he could manage it doesn’t mean it’s easy to do. Don’t try it.


The Imaginary Invalid (1988)
The Imaginary Invalid (1988)
Think of the great variety shows of twentieth century television. They were all comic. They could move between comic skits, musical or dance numbers, and stand-up routines. But I do not remember a single tragic episode in the Carol Burnett Show or Saturday Night Live. Comedy is a special form. It breaks all the rules.

Wayfaring Actors

The Servant (Katherine Dubois Reed) in Blood Wedding (1981)

Blood Wedding was our last production at the Free School. It was not just the sky-blue walls and the baptismal font on the stage that were hard to work into a set design. (The building had been built as a church.) It was not just the lack of parking at the corner of Broadway and Balsam. It was mostly the fact that the Free School—to its credit—hosted all sorts of community events, all valuable in themselves, but difficult to share the building with. It was hard performing a poetic medieval tragedy with a drum concert in the next room, for instance. The final blow was a cooking demonstration, during a performance of Blood Wedding, in the basement just below our theatre that filled the building with the delectable odor of various kinds of seafood: it was strong.

Caligula (Bill), Caesonia (Mary Bell) in Caligula (1982)

So, we became a traveling company. We performed wherever we could find space. Caligula was our next production and we did it in Theatre 300 in the University Theatre. It was a wonderful space but, unfortunately, only available to us for two weeks during Christmas vacation. That’s a good time to do The Nutcracker or A Christmas Carol, but Caligula lacks some of the wholesome, sentimental quality of most Christmas plays. It was not our best attended show.
Next was Shaw’s Arms and the Man, and we did that at St. Ambrose Episcopal Church in East Boulder.

Raina Petkoff & Captain Bluntschli in Arms and the Man (1982)

Next: The Winter’s Tale and we found a great performance space for that: the Chautauqua Community House. That was our last show of our second season. We loved the space: theatre in the round with great acoustics and a full balcony. We opened season three in the same place with The Imaginary Invalid. We would happily have stayed there forever if we could, except for one small problem: The building was unheated. That was fine for Winter’s Tale performed in May and Invalid performed in September (actually not quite OK: we returned to Chautauqua for Heartbreak House in September of 1984 and once had to rent a propane heater to warm the room up before the performance. It didn’t.)

Toinette & Argan in The Imaginary Invalid (1982)

Next: A special event: We did a single performance of The Monkey’s Paw for a Halloween show at the Boulder Theatre.

Next: Our third church. We did Ibsen’s The Master Builder in the church hall at St. John’s Episcopal Church in Boulder. And our fourth church. We closed the show after three weekends at St. John’s and packed it up and took it to Denver for a weekend at the First Unitarian Church. That makes seven different theatres by the middle of our third season.

Halvard Solness (Richard Bell), Hilda Wangel (Joan Kuder Bell) in The Master Builder (1982)

Next: The Rivals, and another church: The Unitarian Church in East Boulder.

The Rivals (1983)

Next: Back to Denver again. We entered a festival contest and performed a one-act: The Golden Fleece at the Denver Center for the Performing Arts. We didn’t win.

Then, back to St. John’s. We finished our third season with two more shows there: Macbett by Ionesco and Dark of the Moon, the American Appalachian classic. St. John’s became our home for the next couple of seasons.

Lady Macbett (Joan Kuder Bell) in Macbett (1983)

Three seasons: Twenty productions; nine theatres. Some of us were younger then.