REVIEW
Southend Shakespeare Company presents
THE MISER
by Molière
Dixon Studio, Palace Theatre
Westcliff on Sea
27th May - 31st May 2025
Southend Shakespeare Company presents
THE MISER
by Molière
Dixon Studio, Palace Theatre
Westcliff on Sea
27th May - 31st May 2025
It doesn’t seem five minutes ago that Southend Shakespeare Company were performing Antigone on the Dixon Studio stage and if you think you’re seeing double it’s probably because some of the cast are also performing in The Miser as well as starting rehearsals for the SSC summer show, Twelfth Night. Kudos to those actors who’ve had three scripts on the go over the last few months.
The Miser is one of Moliere’s more popular plays and it’s no surprise to learn that Director, James Carter, has been itching to put it on for some time now. The years of waiting have clearly given him time to think about the construction of this production and it has given him and the cast ample opportunity to deliver quite the feast.
It’s always exciting to see different directors' visions of plays and Carter has pulled out every ounce of exquisite fun for this one starting off, at the top of the show, with a pre-amble of each of the characters taking turns to take a peak into the Miser's hallowed chest full of money; all with equally humorous expressions of delight, amusement and ambivalence. The accompanying original harpsichord music by Lee Jackson really makes it work all the more brilliantly and the incidental music throughout this play really helps to make it flow.
It’s a great set up for what’s to come and leads the laughs for the almost sold out first night audience from the off. The set and lighting design by Richard Foster is perfect for the period, with tall columns for characters to hide behind and a backcloth to depict a large library of books, complete with a chandelier hanging from the ceiling. I also loved the oil painting of Harpagon gently lit by the candelabra - a nice touch.
The Miser, Harpagon, is a mean old skinflint who is terrified that someone is going to steal all of his money, including his grown up children and servants. Elise, his daughter, is in love with Valère, her father’s butler and her brother, Cleante, has fallen for Mariane. Both siblings know that if they persist with their romantic choices, they can kiss their inheritances goodbye. Their predicaments only get worse when the widowed Harpagon announces he himself has arranged to marry Mariane and that he has also arranged for Elise to marry the aging Señor Anselm. With confusion and misunderstandings abound, the plot continually thickens with every character unable to hide their true feelings towards the old misery, Harpagon, who loves his money above anything else in the world.
This is a superbly cast show and every character has been fully formed in true Commedia dell’Arte fashion with the traditional stock characters including servants, clowns, young lovers and masters all in there. This interpretation, however, seems to bring a slightly 21st Century touch of comedy to it with some lovely nuanced character impressions, facial expressions and great comedy timing - especially when the fourth wall is broken - that a modern day audience can appreciate and relate to.
There’s a lot going on and the action gets quite frantic. Will Harpagon marry Mariane, will Elise find love with Valere and will Cleante manage to persuade his father that it should be him marrying Mariane? And how does Señor Anselme come into the frame?
Ross Norman-Clarke takes the titular role of Harpagon the Miser, and plays the mean old devil with conviction as his paranoia kicks in and he accuses all and sundry of trying to steal from him.
Elena Clements as daughter, Elise, gives some delightfully over the top fanciful moves to her character as she tries to get her love, the smooth talking Valere, to schmooze her father. Alex Severne as Valere, does a great job in this nicely controlled role.
Cleante is played by Marius Clements and the brother and sister combination works really well, possibly because the pair are brother and sister in real life. Cleante is as big a dandy as they come and Marius looks like he’s having a lot of fun dressing up in some of the most fabulous costumes provided by Madeleine Carter. Even their dad, Michael Clements, has come along for the ride in this production, taking on the roles of servant La Merluche and Old Pedro and manages to big up a small role by playing up to the audience and having them in stitches even before the play gets into full swing.
Carrie Groves is a delightful Frosine, the matchmaker who is trying to fix up Harpagon and Mariane while at the same time trying to make a few quid herself. Her buttering up of Harpagon, whilst simultaneously being completely repulsed by him is a great watch. Likewise, Sally Lightfoot has lots of fun with the role of cheeky servant, La Fleche.
Madeleine Carter, as well as being responsible for the outstandingly larger than life costumes in this production, also takes on the role of Madame Jacquenetta, giving the cook-come-carriage driver part a great run for the money.
Every character is perfectly portrayed and everyone works well together to deliver a storyline that you won’t need to overthink, but simply be able to sit back and enjoy. With lots of laughter, fun and frolics the evening ends with a frantically satisfying conclusion.
However, I think it would have been a great hoot to see that reflected in what was perhaps a rather tad too long dance from the cast at the end of the play, which seemed a little out of kilter with the rest of the show. Personally, I would have liked to have seen it sped up a bit and injected with the craziness of the preceding events to get the audience leaving with a buzz after the bows. That said, this is a beautifully put together play with great production values that certainly won’t disappoint.
Don’t be a skinflint, go and buy yourself a ticket to see The Miser for a night of unabandoned fun and frolics.
Review: Kim Tobin
The Miser is one of Moliere’s more popular plays and it’s no surprise to learn that Director, James Carter, has been itching to put it on for some time now. The years of waiting have clearly given him time to think about the construction of this production and it has given him and the cast ample opportunity to deliver quite the feast.
It’s always exciting to see different directors' visions of plays and Carter has pulled out every ounce of exquisite fun for this one starting off, at the top of the show, with a pre-amble of each of the characters taking turns to take a peak into the Miser's hallowed chest full of money; all with equally humorous expressions of delight, amusement and ambivalence. The accompanying original harpsichord music by Lee Jackson really makes it work all the more brilliantly and the incidental music throughout this play really helps to make it flow.
It’s a great set up for what’s to come and leads the laughs for the almost sold out first night audience from the off. The set and lighting design by Richard Foster is perfect for the period, with tall columns for characters to hide behind and a backcloth to depict a large library of books, complete with a chandelier hanging from the ceiling. I also loved the oil painting of Harpagon gently lit by the candelabra - a nice touch.
The Miser, Harpagon, is a mean old skinflint who is terrified that someone is going to steal all of his money, including his grown up children and servants. Elise, his daughter, is in love with Valère, her father’s butler and her brother, Cleante, has fallen for Mariane. Both siblings know that if they persist with their romantic choices, they can kiss their inheritances goodbye. Their predicaments only get worse when the widowed Harpagon announces he himself has arranged to marry Mariane and that he has also arranged for Elise to marry the aging Señor Anselm. With confusion and misunderstandings abound, the plot continually thickens with every character unable to hide their true feelings towards the old misery, Harpagon, who loves his money above anything else in the world.
This is a superbly cast show and every character has been fully formed in true Commedia dell’Arte fashion with the traditional stock characters including servants, clowns, young lovers and masters all in there. This interpretation, however, seems to bring a slightly 21st Century touch of comedy to it with some lovely nuanced character impressions, facial expressions and great comedy timing - especially when the fourth wall is broken - that a modern day audience can appreciate and relate to.
There’s a lot going on and the action gets quite frantic. Will Harpagon marry Mariane, will Elise find love with Valere and will Cleante manage to persuade his father that it should be him marrying Mariane? And how does Señor Anselme come into the frame?
Ross Norman-Clarke takes the titular role of Harpagon the Miser, and plays the mean old devil with conviction as his paranoia kicks in and he accuses all and sundry of trying to steal from him.
Elena Clements as daughter, Elise, gives some delightfully over the top fanciful moves to her character as she tries to get her love, the smooth talking Valere, to schmooze her father. Alex Severne as Valere, does a great job in this nicely controlled role.
Cleante is played by Marius Clements and the brother and sister combination works really well, possibly because the pair are brother and sister in real life. Cleante is as big a dandy as they come and Marius looks like he’s having a lot of fun dressing up in some of the most fabulous costumes provided by Madeleine Carter. Even their dad, Michael Clements, has come along for the ride in this production, taking on the roles of servant La Merluche and Old Pedro and manages to big up a small role by playing up to the audience and having them in stitches even before the play gets into full swing.
Carrie Groves is a delightful Frosine, the matchmaker who is trying to fix up Harpagon and Mariane while at the same time trying to make a few quid herself. Her buttering up of Harpagon, whilst simultaneously being completely repulsed by him is a great watch. Likewise, Sally Lightfoot has lots of fun with the role of cheeky servant, La Fleche.
Madeleine Carter, as well as being responsible for the outstandingly larger than life costumes in this production, also takes on the role of Madame Jacquenetta, giving the cook-come-carriage driver part a great run for the money.
Every character is perfectly portrayed and everyone works well together to deliver a storyline that you won’t need to overthink, but simply be able to sit back and enjoy. With lots of laughter, fun and frolics the evening ends with a frantically satisfying conclusion.
However, I think it would have been a great hoot to see that reflected in what was perhaps a rather tad too long dance from the cast at the end of the play, which seemed a little out of kilter with the rest of the show. Personally, I would have liked to have seen it sped up a bit and injected with the craziness of the preceding events to get the audience leaving with a buzz after the bows. That said, this is a beautifully put together play with great production values that certainly won’t disappoint.
Don’t be a skinflint, go and buy yourself a ticket to see The Miser for a night of unabandoned fun and frolics.
Review: Kim Tobin
The paranoid old skinflint Harpagon has two grown children: Elise, who is in love with Valère, her father’s butler, and Cleante, who loves Mariane. Both siblings know that if they persist with their romantic choices, they can kiss their inheritances goodbye. And their plights only get worse when the widowed Harpagon announces startling marital plans of his own. It’ll take a miracle – or two, or three – for the desires of youth to have their way!
The SSC are delighted to bring Molière’s comic masterpiece to the Dixon Studio.
For more information about the SSC visit their website at southendshakespeare.org.uk
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The SSC are delighted to bring Molière’s comic masterpiece to the Dixon Studio.
For more information about the SSC visit their website at southendshakespeare.org.uk
CURTAIN CALL with Madeleine Ayres
Madeleine, who lives in Leigh on Sea, is Head of Costume for the production of The Miser as well as playing the role of Jacquenetta
Madeleine, who lives in Leigh on Sea, is Head of Costume for the production of The Miser as well as playing the role of Jacquenetta
Madeleine in costume for The Miser
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When did you start to take an interest in theatre? Did you take part in any productions at school?
Both my parents were involved in the theatre, so you could say I was brought up loving it….I was always taken to shows from a very young child, pantomimes, summer shows, musicals and as I got older more serious dramas – I loved it all! Have you done any sort of formal training for acting/singing/dancing? No, not really Do you have any specialist skills – anything from stilt walking to dress-making – which you work into your repertoire? I very much enjoy designing and making costumes, particularly period costumes – there is such a buzz when a costume goes well and you see it under the lights on stage. Which experience/role do you regard as the highlight of your amdram career to date? I’m not sure what to say to this question – I have been fortunate enough to be in some great productions and each has been wonderful in its own way- I loved playing Hermia (that’s going back in time!) in A Midsummer Night’s Dream and Adriana in A Comedy of Errors, plus Lottie in When We Are Married……Private Lives…..the list goes on…..all have been highlights |
What has been your most embarrassing moment involving drama, on or off stage?
There have been so many…but my first one was in my very first outdoor show, I was extremely nervous, so had secreted a script behind one of the columns on stage so I could check my lines at every available opportunity….unfortunately, it was a very windy day……over went the column and revealed me standing there, script in hand!
How do you earn your living?
Until recently I was a Customer Relationship Manager, but I retired early, so I am now a lady of leisure
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
I don’t think I have ever drawn on my day job for my stage activities, but I guess sometimes my theatre career was useful at work – keeping smiling whilst dealing with difficult customers was a useful tool!
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I must be honest, most of my friends are involved in the theatre and I am privileged to know such lovely, talented people. I am also lucky enough to have a few wonderful friends outside of the theatre.
Which actor do you most admire and why?
That is a hard one to answer – I’m afraid I like a lot of actors…..Joseph Millson – he can do anything; Imelda Staunton can do no wrong; Jason Watkins, so versatile; Roger Allam (aaah); Nigel Hawthorne; I could go on and on….. I like actors that have personality and charisma; that draw you into a play, so you are almost absorbed into their world and you lose yourself in the play and the characters – they become real.
What role would you most like to play and why?
I love doing comedy – when you get the timing right and the audience is with you and they laugh – there is no feeling like it. But actually two of the parts that I have always wanted to play are serious roles and unfortunately, I am too old and crumbly to play them now…..one was ‘Maggie’ from Cat On A Hot Tin Roof and Blanche from Streetcar Named Desire (mind you, even when I was younger I was completely unsuitable for the part – still one can dream!)
Ever corpsed on stage? What happened?
Yes – it was in The Real Inspector Hound …I blame a ridiculously squeaky trolley, a cigarette that was tied to someone’s tooth to stop it falling out and a fellow actor that got the giggles……in the end I was laughing so much I just had to turn upstage and hope no-one noticed.
Tell us a bit about your part in "The Miser".
I am playing Jacquenetta; a put upon cook/coachman who works for the Miser. He is so mean he won’t pay for a separate cook, so she has to do both jobs. The play is very funny and full of wonderful, colourful characters who, one way and another, are trying to escape the clutches of The Miser
Any plans for the future, after "The Miser?”
The next play we are doing is our open air summer show, Twelfth Night – I have a small part in the play and will be doing the costume. The summer shows are always hard work, but they are such fun and there is such a great atmosphere amongst the cast and crew.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
I am afraid I don’t have much in the way of tips to share – I always want to learn my lines early, but I tend to leave it later than I like, particularly if I am doing costume as well. I just keep going over and over them and hope they stick.
There have been so many…but my first one was in my very first outdoor show, I was extremely nervous, so had secreted a script behind one of the columns on stage so I could check my lines at every available opportunity….unfortunately, it was a very windy day……over went the column and revealed me standing there, script in hand!
How do you earn your living?
Until recently I was a Customer Relationship Manager, but I retired early, so I am now a lady of leisure
Following on from the previous question, has your theatre career ever been useful in your day job, and/or have you ever drawn on your day job for any of your stage activities?
I don’t think I have ever drawn on my day job for my stage activities, but I guess sometimes my theatre career was useful at work – keeping smiling whilst dealing with difficult customers was a useful tool!
Are your friends mostly involved in theatre - perhaps even working with you on a regular basis - or do you socialise across a wider circle?
I must be honest, most of my friends are involved in the theatre and I am privileged to know such lovely, talented people. I am also lucky enough to have a few wonderful friends outside of the theatre.
Which actor do you most admire and why?
That is a hard one to answer – I’m afraid I like a lot of actors…..Joseph Millson – he can do anything; Imelda Staunton can do no wrong; Jason Watkins, so versatile; Roger Allam (aaah); Nigel Hawthorne; I could go on and on….. I like actors that have personality and charisma; that draw you into a play, so you are almost absorbed into their world and you lose yourself in the play and the characters – they become real.
What role would you most like to play and why?
I love doing comedy – when you get the timing right and the audience is with you and they laugh – there is no feeling like it. But actually two of the parts that I have always wanted to play are serious roles and unfortunately, I am too old and crumbly to play them now…..one was ‘Maggie’ from Cat On A Hot Tin Roof and Blanche from Streetcar Named Desire (mind you, even when I was younger I was completely unsuitable for the part – still one can dream!)
Ever corpsed on stage? What happened?
Yes – it was in The Real Inspector Hound …I blame a ridiculously squeaky trolley, a cigarette that was tied to someone’s tooth to stop it falling out and a fellow actor that got the giggles……in the end I was laughing so much I just had to turn upstage and hope no-one noticed.
Tell us a bit about your part in "The Miser".
I am playing Jacquenetta; a put upon cook/coachman who works for the Miser. He is so mean he won’t pay for a separate cook, so she has to do both jobs. The play is very funny and full of wonderful, colourful characters who, one way and another, are trying to escape the clutches of The Miser
Any plans for the future, after "The Miser?”
The next play we are doing is our open air summer show, Twelfth Night – I have a small part in the play and will be doing the costume. The summer shows are always hard work, but they are such fun and there is such a great atmosphere amongst the cast and crew.
Any tricks for remembering your lines or other useful tips to pass on to others involved in drama?
I am afraid I don’t have much in the way of tips to share – I always want to learn my lines early, but I tend to leave it later than I like, particularly if I am doing costume as well. I just keep going over and over them and hope they stick.
Below: Madeleine in rehearsal
