TURCARET THE FINANCIER
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This time, however, the results are considerably more pleasing. Where the cartoonish elements of Infusoria often seemed like desperate last-minute attempts to save a sinking show, every comic turn in Turcaret is clearly part of Bullard’s original concept. That includes the witty set and the broad acting style, as well as Sraa Davidson’s bizarre costumes and Tina Haglund-Spitza’s marvelously surreal wigs decorated with emblems of each character’s obsessions. Businessman Turcaret wears a suit made of power ties and a wig made of rolled cash-register receipts; the alcoholic marquis has wine corks on his lapels and liquor-bottle labels for hair.
It’s as if Bullard–as translator, adapter, and director–wanted to prove the extent to which cartoons are the modern equivalent of farces like Alain-Rene Lesage’s Turcaret. Which is why David Sinaiko and Tracey Gilbert’s Bugs Bunny-ish takes on the sly servants, Frontin and Lisette, only make their performances stronger and funnier.
I have suffered through any number of reverent, academically correct, and humorless productions of classic Italian or French farces. Bullard’s Turcaret is nothing short of inspired.
