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...HARVARD DRAMA CLUB'S production of Moliere's The Imaginary Invalid is an intermittently funny hodge-podge of styles and gimmicks. Unable to put enough juice into the show by playing it straight, director Liz Coe has cleaned out the props room in search of slight humor. Her inventiveness works occasionally, but not quite often enough to rescue the evening...
...What Liz Coe decided to do in this situation evidently, was to throw sense and consistency to the winds. At the beginning of each act, characters come out and sing clever rock parodies, using Moliere's lyrics and music by Michael Gury, Ed Zwick, and Mark Hunter. Argan adds up his medical bills on an old-fashioned adding machine (meanwhile writing down the totals with a quill pen). Toinette makes her first appearance on roller skates, and after a while takes them off and goes through the rest of the play in shoes. The daughter's lover, Cleante, comes...
...sincere to be ridiculous. Tony Cesare's Polonius is silly, rather than senile; his character lacks what the genuine figure of Polonius invariably exhibits, an exaggerated sense of his worth and of the importance of his actions. Fletcher Word plays Hamlet who seems neither intense nor melancholy. Liz Hollister, however, portrays Ophelia effectively both in her Shakespearean and comi-tragic contexts; she performs her lines, taken directly from Hamlet, with suitable emotion, but dumbly submits to her being used as a prop in the play staged by Claudius and Polonius...
...IMAGINARY INVALID by Moliere: Harvard Dramatic Club, director Liz Coe, Loeb Mainstage May 4-6, 12-13 8:00 PM $2.25 and May 11 1:30 FREE...
WHEN ONLY A SHORT TIME left until the Festival opens, the Loeb itself is humming with rehearsal fever. On the mainstage, Liz Coe is directing Moliere's "Imaginary Invalid," the first play she has directed which is not twentieth century. In her production of "The Imaginary Invalid," Coe has fused her directorial and authorial talents by integrating three translations to compose the script, "to depart from the stiff, dull and awkward seventeenth century prosaic speech patterns to which the academic translators feel committed. But this departure from the sacred script," she goes on to explain, "is just an extension...