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Smell the fear
The Miser review
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Each of the five performers in You Animal, You is forbidden from wearing deodorant, perfume or any other scented product for the duration of rehearsals and performance. Instead, they're directed to wash only with a particular brand of fragrance-free moisturising bar.

During the dialogue-heavy dance work, their hands will be literally tied and their eyesight, at times, covered, as their own real-life tales of dread and fear are used as psychological weapons in a Hunger Games-style contest for supremacy.


3 stars

At first glance, Molière’s The Miser, or L’Avare in the original French as first performed in 1668, contains the seeds of drama. Harpagon, an avaricious father, unceasingly heartless towards his grown son and daughter, and paranoid they will steal his beloved fortune, sounds like the stuff of tragedy; the scenario hints at an old man’s cognitive decline or undiagnosed mental health pathology. Yet the ironic words on the page and the sitcom-like setting of the same room throughout centre the play firmly in the realm of farce.

In this adaptation by the Sydney-born playwright Justin Fleming, Bell Shakespeare’s go-to guy for Strine-ish Molière, there are four evenly spaced doors arrayed across a tall wall, through which Harpagon’s foppish children, opinionated servants, assorted go-betweens, and a sycophantic marriage broker make their swift entrances and exits in purposely garish wigs and costumes.




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