The Man of Mode
A Theatre Play
“The Man of Mode”
A dark and sexy comedy returns to the theatre to prove that people are always the same: scary, funny and here to entertain you.
Dorimant, the great philanderer and our hero in this play, finally meets the woman of his dreams.
Is it possible for this charismatic “dog” to give up his old womanizing tricks for true love?
This great hit of the 1670’s, delivered in modern English, shines a light on every hilarious moment of this dark romance.
Watch as Dorimant strides out of history to claim his place in the 21st Century.
In his wicked way he is every man’s secret self and every woman’s guilty pleasure.
Thoughts on The Man of Mode
When it comes to great theatre, you can’t go past Moliere: vibrant, witty, still relevant - especially as it has been translated into modern English so his work becomes effortlessly accessible and easy to play with. But actually that’s unfair to the English Restoration Comedies, his equal though handicapped by impenetrable language. They too should be translated to help their brilliance shine, their humour, their outrageous battle of the sexes, their tongue in cheek (I think that’s where it is!) romance.
A desire to balance the game got me translating The Man of Mode into modern English. A task I relished for the beauty and irreverence of the Age of Scandal! And as I progressed I got passionately interested not just in the characters but in the people they were based on.
I decided to change the story – originally the premise was that a good, virtuous, strong woman could turn a wicked “whoremonger” into a loving dutiful husband - a bit rich! What about a dose of reality? I decided to include a few relevant facts. To bring to the story some idea of what really happened to these people.
I changed the end – Dorimant our wayward hero isn’t tempered by love – neither was the real Dorimant - John Wilmot. I’ve slightly adjusted his proposed wife’s character to be his match. I thought he deserved a good fight!
The more I changed, the more challenges I thought the play could bear. It could be darker! Not a sugary romance but a play with teeth! It gave an already lively work an edge.
I don’t agree with the dreary darkness some people bestow on this era: having become so happily acquainted with 17th Century English writers, I find their work pumps out joy, and wit. These were vibrant people, intelligent, mocking, sexy! That was the tone of the time as far as I can see. This play proves the point.
I added an MC as devil’s advocate, to comment on the action, challenge the audience’s reaction, cause a bit of havoc and even affect scenes. He is an admirer but also challenges Dorimant’s truths.
And at the end of the play John Wilmot should have his say: defend himself and his life style even from beyond the grave; to ask the audience for their love and understanding for being the amusing company that he is.
And in the end the audience must decide.
For myself - I admit my great love for these people and their world – just to visit them is bliss.
Janet Dimelow, 2015
Theatrepeople Review
"Janet Dimelow’s, The Man of Mode, is a delicious version of George Etherege’s 1676 Restoration comedy.
Dimelow’s depiction tips the scales towards a modern dressed Melbourne and she adds an MC (Jake Fehily) to challenge the audience’s opinions.
Dirk Hoult, directs Dorimant’s (Josh Futcher) devilish dalliances and a most agreeable cast at Chapel Off Chapel theatre.
The introduction is burlesque in appearance. The androgynous looking players are in crisp white shirts and black suspendered jeans. Dorimant deliberates, nestled in a Club chair with his back to the audience.
The rakes’ Dorimant and Medley (Matt Young), concoct a plan to end Dorimant’s latest love affair with an older woman, Mrs Loviet (Leah Baulch), in order to pursue a rich heiress, Harriet.
There is a premise of unwanted betrothal between the beautiful heiress Harriet (Tamiah Bantum) and the handsome Young Bellair (Dominic Weintraub).
Young Bellair’s has a hidden love, Emilia (Louisa Fitzhardringe), which is evident in their private meetings. Emilia is a mere companion to Lady Townley (Catherine Glavcic), and of no status, not a suitable bride.
Old Bellair’s (Ryan Murphy) fatherly devotion, is distracted when he caught is unaware by both Emilia’s beauty and her love for his son. Emilia finds herself unintentionally admired by both Bellairs’.
Of course this interpretation would not be complete without betrayals and deceptions.
The rogue and philandering Dorimant has a secret lover, Mrs Loviet’s younger friend, Belinda (Emma Pursey). They sizzle in a midnight liaison.
This performance includes Etherege’s original fop, Sir Fopling Flutter, a wig- wearing aristocrat, worthy of his name. A duel-role played masterfully, by Jake Fehily. His speech impediment adds a likeable absurdity to his character.
Dorimant is quick to see Fopling is vulnerable to manipulation. He intends to deceive Mrs Loviet and convinces Fopling of her affections. Dorimant feigns jealousy to disguise his love affair with her friend Belinda.
Dimelow has deliberately written a charismatic Harriet. She contests the stereotypical role of the virtuous woman’s desire to tame Dorimant. Both Futcher and Bantum play their witty repartee well.
The masked rogues’, rakes’, scabs’, whores’, ladies, and fop conceal their secrets at a masquerade ball in Lady Townley’s home. Again, Dimelow gives the ‘Age of Scandal’ a modern accent with background ‘doof-doof’ music.
Futcher is a perfectly cast as the sexy scoundrel Dorimant, so too is his accomplished and attractive counterpart, Harriet (Bantum).
Murphy (Handy / Old Bellair), Fehily (MC / Sir Fopling Flutter / Pastor / Chair Driver) and Elizabeth Mc Coll (Nan/ Lady Woodville / Pert), give outstanding multiple performances. The marginal characters deliver with exquisite diction and comic timing.
We visit the ‘Fluttering’ world of Dimelow’s clichéd at times and yet engaging language and Hoult’s cabaret style, raunchy acquaintances. The delightful English Restoration is ever present.
Dimelow’s adaption will tantalise and enthrall the 17th Century English Writer, devotees’. At just 90 minutes running time, Dimelow and Hoult will capture your attention, leaving you wanting more."
