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Theatre Mapou: Gouverneurs de la Rosée

Theatre Mapou:
Antigone

MOUCHE DEFAS OR TARTUFFE

January 2005__Among all dramatic adaptations, it is undeniably convened that Jean Lyonnel Desmarattes’ work on Molière’s Tartuffe remains by far the most accurate display reflecting the Haitian psyche. Indeed, it is Tartuffe, magnificently transposed into Creole with its precise alexandrine classic verses, and yet, exceptionally accessible.

As tangible as it is obvious, Desmarattes has literally transformed souls into culturally floating animated Haitian angels in MOUCHE DEFAS or TARTUFFE. To the unwitting displeasure of the well-mannered, the affected, the snobs and the precious ridicules, nonetheless, the intriguing unfolding of Mouche Defas is not being shaped in Orgon's 17th Century haute-bourgeoisie Parisian house-- splendidly well furnished with wood paneling, paintings, drapery, scintillating ornamentation and a plethora of nouveaux-riches parading, it is rather fixated, concocted in the modest house of Yvon -- the middle class humanist, whose gullibility exceeds all reasonable metrics.

Mouche Defas or Tartuffe, adapted and played for the first time in 1982 under exulting acclamations and thundering ovations in Haiti, is one of the cherished and invaluable works of Desmarattes. One of the greatest in dramatic literature, unquestionably momentous and actual, this 17th Century comedy about an unscrupulous impostor has been traveling under the wings of times to expose human’s egregious propensity to vanity, superficiality and venality.

While the cast in its entirety has given an outstanding performance in speaking the lines with enthusiasm without losing the rhythm by exhibiting both discipline and comic flair, it is worthwhile to quantify the brilliant stage presences of Lyonnel Desmarattes (Yvon), whose unbounded credulity almost beatifically removed him from reality; Nadine Pierre-Charles (Tant Foufoun), the devoted mother with her uniquely gleeful and flinging emotions; Gertha Eugène (Dorine) the loquaciously sarcastic and witty servant whose acidulous comments, loyalty and staunchness fortified the play; and Chérubin Dorcile (Mouche Defas), the manipulative religious hypocrite utilizing his eloquent charms to lure his preys.

Certainly, the audience enjoyed the comically slithering gestures of Arnold Joseph (Monfi) whose deus ex machina clairvoyance convincingly prevented Defas from walking away with his prizes; and the seeming tenderness and subterfuges of Solange Nestor (Neli), especially in the scenes when Defas attempted to seduce her.

Hats off to Jean-Claude Eugène for his directorial ability and consistency in maintaining the unity of the play; the same is extended to Patrick Eustache and Yvon Fleurival for a stage and a lighting that moved the eyes of the audience. The makeup and costumes were indicative of the degree of professionalism of the whole crew.
In summary, Mouche Defas is a memorably intriguing portrayal of human hypocrisy. Inveterate theatergoers should either see or read this hilariously entertaining play. Not only does it straightforwardly communicate with us through its characters by successfully unmasking the absurdity of our manners and dubious moral values, but it does also by its cheerfully therapeutic humor rejuvenate and recalibrate our spirit.