Word: rameau
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Dates: during 1990-1999
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...event, the argument is essentially over money. Can one live, as the philosopher does, in a state of perpetual disdain towards the material world? Or is it, as Rameau's nephew insists, "so hard to be poor when all around you are rich?" As the more conventional character, Geidt's arguments are invariably less interesting. To his credit, however, Geidt manages to hold the audience's attention while maintaining the same position on stage and without changing his facial expression for several minutes at a time...
Diderot's spiked dialogue helps, of course, but it is largely Geidt's dry voice and haughty demeanor which keep us interested. He's a John Houseman of the 18th Century, able to deflate the ego of Rameau's nephew without having to look him in the face. The philosopher also has a knack for preempting our own views of Rameau's nephew, "I believe you have brought the art of debasement to new heights," he declares, "I think I liked you better as a musician than as a moralist...
...Rameau's nephew, the material failure who wears his cynicism on his ragged sleeve, Tony Shalhoub is a masterpiece of spite. He rants and raves against the evils of his society but can't escape his hunger for those rich possessions which he claims to disdain. Shalhoub knows how to milk a good joke, but he occasionally drifts into tedium by repeating the same gag or mannerism...
...Rameau's nephew really wants to have his cake and spit...
Unfortunately, moments of annoyance abound in Rameau's Nephew, and most of them arise because of the American Repertory Theatre's obsessive need to demonstrate its technical prowess. But such moments cannot detract from the skillfull direction, inspired acting, and sharp dialogue which characterize Rameau's Nephew. It's an engaging bit of satire, one which decisively proves the wisdom of Bob Dylan's old adage that "Money doesn't talk, it swears...