The Man of Mode: a comedy that provides more than laughs
By Burton Taylor
Lance Writer
Photo By Doug MacLellan
March 4, 2009
 “The Man of Mode” is about a man who trades love for money and for doing so, deserves neither.
Mr. Dorimant (Kelly Penner), London’s finest debonair bachelor and lothario, has squandered his fortune in decadent idleness and lascivious conquests waged against the city’s women. Fortunately for him, the young, beautiful, and wealthy Lady Woodvill (Lisa Marie Hamalainen) has recently arrived in London from the country with the intent to marry.
However, a multitude of barriers stand between Dorimant and Woodvill’s estate, not the least of which is Dorimant’s current mistress, the Lady Loveit (Heidi Lynch).
The rules of upper English society dictate that it must be Lady Goodvill who must reject Dorimant, and not vice versa, for Dorimant to remain in good social standing and a suitable suitor for Woodvill. To this end, Dorimant resolves to break Loveit’s heart through acts of infidelity.
Needless to say, the plot is sufficiently (and delightfully) Byzantine. Each dramatic turn brings with it new heartbreak or romance. In fact, the play functions best as an early modern version of MTV’s The Real World, where the audience takes a dark and perverse pleasure in watching the hook ups and break ups of London’s most fabulous and eligible.
Speaking of fabulous, no conversation on this play would be complete without mentioning the incomparable Sir Fopling Flutter (Caleb McMullen), friend of Dorimant and a prince among fops. Frankly, his name says it all, but my adoration for the fellow demands that I say a few more words. Sir Fopling has returned from Paris and brought with him the cutting edge in foppish trends. Where Dorimant et al wear large permed wigs, Sir Fopling adds colour, and where others bow and curtsy politely, he sashays extravagantly and bows excessively.
Rod Ceballos, the director, and choreographer Louise Paquette manage the space on the stage shrewdly and wisely. Characters leap, bow, and dance about the stage. For example, the formal dance at the play’s conclusion encapsulates an arc of dramatic action in the space of a few minutes and without a single line of dialogue. Likewise, the period costuming is opulent and lush.
In short, I love this play. It’s at once charming and delightful, and sweet and sad. While a comedy, there’s much more than just laughs here. There is real tragedy between, if not during, the comedy. Hearts are broken. While an absolute rogue and heartbreaker, I still cared deeply about the plight of Dorimant.
The University Players current production of George Etherege’s Restoration comedy “The Man of Mode” is presented on campus till March 8.
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