L-R: Ría Simpkins, Dylan Arredondo, Gwen Grastorf, Matthew Pauli, Natalie Cutcher,
Drew Kopas, Jamil Joseph, Ryan Sellers, and Jacob Yeh. Photo by DJ Corey Photography.
In “The School for Lies” by David Ives, the physical comedy aspect of the play is just as important as Ives’ many witticisms. Ives is known for his excellent dialogue and, often, physicality is left by the wayside in favor of making sure every comedic note is polished to perfection. Not so in Constellation Theatre Company’s rendition of Ives’ farcical masterpiece. Every actor is an accomplished physical comedian as well a gifted orator, and the direction from Allison Arkell Stockman elevates the cast’s choices to perfection. There was never a dull moment throughout the entire play and left the audience practically gasping for air with laughter.
It is rare to come across a team of actors and designers so well suited for each other. Constellation Theatre Company and director Allison Arkell Stockman have crafted a gorgeous and smart show. You don’t want to miss this one.
The set is fantastic. The entirety of the show is set in a lavish Parisian salon, courtesy of Célimène, a young widow and the catalyst of the play’s action. The salon is reminiscent of one of the canapés the butler Dubois dutifully serves to Célimène’s guests. The furniture and set dressing take on an almost frothy nature, with various poufs and stools littered across the stage like sugary fondant. Congratulations are in order for scenic designer Sarah Reed, who created a lovely obstacle course in which the actors play. The deck is painted light pink with white tile and gives the impression of a chessboard, quite fitting for the game of wits that takes place within the walls of Célimène’s salon. The entire effect is delicious as well as discovering the tiny details hidden in the set.
If the set is a chessboard, the wardrobe allows each actor to become a unique and vibrant chess piece. Costume designer Frank Labovitz has struck gold. Each garment was chosen with such vision and care, Labovitz seems to be daring the audience to take a moment post curtain to discuss the hidden meanings and symbolism behind each piece. Labovitz has done a rare thing—he has created a cast wardrobe wherein every article of clothing is immediately each character’s signature look. Célimène would choose something to aid her in “peacocking” about her quarters to the applause of her suitors. A blue satin gown with a long slit over her left leg and a splash of crimson red will do just that. Of course, her suitor Oronte, who fancies himself an artist, would wear a look straight out of “Amadeus,” with shirtsleeves cascading out of his jacket. The very-cool Acaste would choose a look straight out of Prince’s wardrobe (sunglasses and all). One of the most interesting looks can be found on Eliante, Célimène’s cousin. She floats across the stage in a cloud of white satin and tulle, buoyed by her moral goodness. Part of that white tulle petticoat is layered with hot pink and red, giving us a clue as to how emotionally repressed Eliante feels and how ready she is to embrace her sensuality.
The entire cast is excellent. Célimène’s cluster of suitors—Orante, Clitander, and Acaste (played by Jacob Yeh, Jamil Joseph, and Ryan Sellers respectively)—are perfectly awful. Though socially apt to a fault, all three actors do a lovely job of coming off completely tactless. Dylan Arredondo as Philinte pines for Célimène’s cousin, Eliante, but can’t gather the courage to confess his love to her. Arredondo opens the show and has the difficult task of getting the audience acclimated to the rhyming dialogue and over the top storylines. He succeeds beautifully. Arredondo and his beloved Eliante, played by incomparable Ria Simpkins, are truly the heart of the show. It helps that both actors are fabulous physical comedians and their love story is as hysterical to watch as it is touching.
It not easy to be the straight man in a show like this and Matthew Pauli as the butler Dubois succeeds nicely. Dubois essentially has one joke throughout the show. He attempts to bring on a tray of canapés and one character or another (most often Frank) slaps the tray upward, launching every canapé into various corners of the set. Dubois then has to pick them up. This is excellent clowning work and according to the program, Pauli has attended clown college. Bravo. It truly was a meticulous, understated performance. Pauli also doubles as Basque, Dubois twin brother. Until the reveal, it was almost impossible to tell that these two characters we played by the same actor. Props to hair and makeup for creating such a transformative wig. Almost every character in “The School for Lies” has a foil and for Pauli’s understated Dubois, it is the glorious Arsinoë, played by Gwen Grastorf. Arsinoë is part prima donna, part wicked witch of the west as she soars gleefully upstage stage in green satin topped with an Elizabethan curl. Arsinoë is as graceful as she is obnoxious and we never know what to expect from her.
Chemistry is imperative if we are to truly believe such absurd events can take place in one afternoon and Natalie Cutcher as Célimène and Drew Kopas as Frank bring it tenfold. It was palpable as soon as Cutcher silenced Kopas with a well placed barb at their first meeting. The audience practically cheered at Frank’s surprise reveal. Both actors have a certain confidence onstage, not just in their characters but in each other as scene partners. We are never afraid that Frank is going to drop Célimène as they tango upstage or let her heel get caught in the long train of her dress. The same can be said for the whole cast—every actor is an excellent scene partner. It is rare to come across a team of actors and designers so well suited for each other. Constellation Theatre Company and director Allison Arkell Stockman have crafted a gorgeous and smart show. You don’t want to miss this one.
Running Time: One hour and 45 minutes with no intermission.
“The School for Lies” runs through May 28, 2023 at Constellation Theatre Company at Source Theatre, 1835 14th St NW, Washington D.C, 20009. For tickets and more information, call the Box Office at 202-204-7741, Monday through Friday, 1 pm – 5 pm or go online. Tickets may also be purchased at the Box Office on any performance day beginning one hour prior to the performance. Masks are required inside the theater.
