The current production of Molière’s Les Fourberies de Scapin at the Comédie-Française, directed by Denis Podalydès, offers a distinct and masterful interpretation of the classic comedy. Rather than relying solely on broad slapstick or chaotic movement, this iteration finds its brilliance in specificities: the arch of an eyebrow, a precise turn of phrase, and the electric, improvisational rapport established with the audience. It is a production defined by mannerisms and wit, elevating the material beyond simple farce.
Subsequent to seeing this performance, I researched several other recorded interpretations of the play, and the comparison only clarified what a rare gem this cast and director have created.
Comedy of Expression and Interaction
The humor in this production is derived largely from the actors’ mastery of micro-expressions and timing. The performance is so hysterically funny that, at certain peaks, the audience’s applause swells to a point where they seem to be begging for a pause just to catch their breath. Looking around the theater during these moments, I observed fellow audience members universally in tears, overwhelmed by the sheer insane hilarity of Noam Morgensztern’s Scapin.
The connection between stage and stalls is palpable; the actors feed off the room’s energy, improvising with a sharpness that keeps the 17th-century text feeling immediate. In one particularly memorable instance of breaking the fourth wall, a fellow actor cuts through the laughter to warn the audience, “Please, don’t encourage him!”—a line that highlights the complicity established between the cast and the house.
Precision Casting
The production’s success rests on a cast that embodies their roles with exactitude.
The undisputed anchor of this production is Noam Morgensztern in the title role. His performance is one of the greatest I have ever witnessed on stage. While Scapin is often played with frenetic physical energy, Morgensztern adds a layer of vocal and psychological dexterity that is startling. He deserves particular acclaim for the sheer speed at which he changes characters—shifting voices, postures, and personas in the blink of an eye to manipulate those around him.
The technical difficulty of maintaining such rapid-fire transformations without losing clarity or diction is immense. If this were a film performance, the level of detailed character work would undoubtedly merit an Oscar; on stage, it stands as a masterclass in comic acting.
Nicolas Lormeau creates a memorable Argante by leaning into the character’s “perfect gentleman” persona. His performance is built on subtle body language and refined mannerisms—a tilt of the head, a stiffened posture—that make his character’s inevitable unraveling all the more entertaining. He serves as a dignified anchor to the swirling chaos around him, the perfect streight man.
Opposite him, Thierry Hancisse is the definitive Géronte. He portrays the deceived father without unnecessary exaggeration, presenting a man whose only true sin is his miserliness. Rather than playing a caricature of greed, Hancisse captures the stubborn dignity of the character. He grounds the comedy in a recognizable reality, making the famous deception scenes land with greater impact because we believe in the man being deceived.
Marie Oppert and Axel Auriant also delivered very memorable performances, marked by a compelling blend of simplicity and passionate intensity.
If I stop short of listing every single cast member, it is only to avoid appearing as an uncritical superfan; the truth is that every actor on that stage was extremely capable, forming a cohesive and formidable ensemble without a weak link.
A Note on the Play’s History
Premiering on May 24, 1671, at the Théâtre du Palais-Royal, Les Fourberies de Scapin was written late in Molière’s career. At the time, the playwright was revisiting the structures of Italian Commedia dell’arte, focusing on the archetype of the tricky servant (or zanni). It is interesting to note that the play was not an immediate critical success; contemporaries like Nicolas Boileau dismissed it as “vulgar” for its reliance on what he viewed as low-brow trickery, famously lamenting: “In this ridiculous sack in which Scapin wraps himself, I no longer recognize the author of The Misanthrope.” However, history has vindicated the work. It has become a pillar of the Comédie-Française repertoire, having been performed over 1,700 times since the company’s founding. This specific production by Denis Podalydès, which premiered in 2017, has itself been performed more than 260 times, proving that Molière’s study of authority and wit remains as vital today as ever.
A Tour de Force Performance
I suspect I could watch this production five more times and not tire of it. It is a rare example of theater that feels fresh, precise, and endlessly entertaining upon every viewing, proving that even a centuries-old text can still surprise a modern audience when placed in the right hands.