'La Bete,' A Review by Elyse Trevers

For the first 30 minutes of David Hirson’s La Bete, Valere (Mark Rylance) delivers an hysterical monologue in rhymed couplets. Although not alone, Rylance, playing a braggart, boorish actor-playwright prattles on and on, much to the dismay of the other two men in the room.  For Valere, they are merely his audience.

Valere has been foisted upon the playwright Elomire by The Princess (the wonderful Joanna Lumley) who finds Valere’s street theater refreshing and entertaining.  Elomire, however, is appalled by his work but even more so by his uncouth self-centered manner.  Valere is slovenly, piggish, flatulent and totally self-absorbed, so it’s hard for Elomire to consider the man who spits, farts, insults people and totally dominates the conversation as an actor-playwright for his troupe. By the end, Elomire (whose name is an anagram for playwright Moliere) must chose between his own artistic integrity and the Princess’ patronage.

Whether you prefer lowbrow or highbrow theater   “Jersey Shore” or “60 Minutes”) you would agree that Rylance shows comic flair and genius.   He babbles as he prances with mincing steps, a prosthetic overbite and showy clothes, never missing a beat.  He pauses to ask the other two a question, but answers it himself. Even when he feels the sudden call of nature and dashes to the back curtain to use the chamber pot, he continues to speak...and speak in rhymes. 

Rylance is a comic delight... What fun he must have with his role. The more outlandish, the better, and nothing is off-limits to Valere. When he realizes that a member of his Elomire’s troupe, Bejart (Stephen Oumette) is slightly hunch backed, Valere is repelled and attracted, mocking the hump but then taking every opportunity to touch it.

David Hyde-Pierce is excellent as the principled, put-upon Elomire. Although his part isn’t as outlandish as that of Rylance, he manages to get several laughs with his facial expressions and gestures. 

The beginning of La Bete is uproariously funny and then it settles into a more uneven play. The second half, when Valere puts on his show is nowhere as entertaining as the first part of the play. It’s hard to top the first half hour for its hilarity. 

If you are anxious to discuss serious themes afterward, like the integrity of artistic pursuits vs. pandering to the masses, the play offers an opportunity.  (Just think about the new levels to which television shows are stooping every season.) 

However, it’s more likely that you will come out of La Bete talking about the comic skills and performance of Rylance.   Valere has no verbal censor and sense of decorum.  Yet he’s the one that we leave the Music Box discussing. Maybe that’s the message right there.