BWW Interviews: Getting to Know THE MISANTHROPE Director Adrian Balbontin

Director Adrian Balbontin's contemporary adaptation of Moliere's cynical couplet comedy of mis-manners transports the action from the salons of 17th Century France to the studios of today's New York fashion scene; where you cut your teeth by cutting people down as you claw your way to the top. Playing at Minneapolis' Bryant Lake Bowl (BLB) through Jan. 17, this production sounded interesting, as did the director. Balbontin is newish in town and the opportunity to learn more about him and the show was too good to pass up. So, BroadwayWorld Minneapolis got to know a little about the director and the unique production in this Q&A:

First, share a little background on you; you mentioned working at Lookingglass in Chicago and also assistant directing at the Guthrie - please tell me more about your previous work and where you're from. And, what work did you do at the Guthrie?
AB: I hail, originally, from California in a little town north of San Luis Obispo. It's in California, where I trained as a director and worked professionally before setting out to Chicago in 2012 after going to grad school at University of California Irvine. Chicago was my destination because Lookingglass hired me for a temporary position under their artistic directors, where I learned a lot about running a large organization that was geared towards producing under a democratic structure...not a top-down one.

My previous work is fairly diverse. I've directed musicals, 20th Century classics, verse language and new works. In fact, I produced two new play festivals in California; one at my alma mater. So, I like to think I run the gamut (and would like to do opera one day). That being said, lately I tend to gravitate toward things that are heightened language driven...I don't want to pigeonhole myself just yet.

At the Guthrie I've assisted Joe Dowling on PRIDE AND PREJUDICE, UNCLE VANYA and Joe Cwala on A CHRISTMAS CAROL.

Working at the Guthrie exposed you to Minneapolis - when did you decide to move here and what are your future plans now that you live here?
AB: I decided to move here temporarily last December 2013. I knew I liked the energy in this city and the diversity of the artistic community much more than in Chicago. Nothing against that city, it just didn't take with me. After a few months I knew I had made the right decision and even forgot about the possibility of going back to California... this would be my new home. My future plans? Well, just keep doing work and making it happen if there isn't an opportunity to be hired. I don't have plans to start a theater company but if something like that happened it would only be under the Lookingglass model.

Talk about this production - what inspired you to adapt this play and set it in NYC's fashion society?
AB: It just made sense to me. The people in 17th Century Paris had yet to be influenced by the 2nd Great Awakening, so they turned their attentions towards defining and refining "the god in man"; what you wore and how you wore it was how you defined yourself, your connection with society and with your spirit. Fan language, for example, had tomes that were hundreds of pages long.

So, taking a satirical stab at a social community that obsesses with and surrounds itself with defining society by what they wear made perfect sense. Not that there aren't similar communities of selfish backstabbers and dishonest flatterers (some theatre communities being one), but I personally find it silly how much we can put a person's puzzle together by their clothes.

Please tell a little about the story of THE MISANTHROPE.
AB: This adaptation takes place over two days, the majority of the action at a party of Celimene (Devon Cox), the new "it" girl of the fashion society. Alceste (Sam Pearson), the misanthropic fashion designer, is currently being sued by the company Louis Vuitton over stealing designs, and he's become sick of the fashion circles and it's fake friendships and cutthroat alliances. Early on he figures it's best if he just attempts to speak the truth, even if he loses everything, and gets out of town...gives up his art. The core of his angst really, is the love relationship between the two and it drives him mad jealous by how sweetly she treats these hanger ons. Nevertheless he wants her to go with him. Will she leave with him?

You added music and mentioned the rock band plays music from Beirut; it sounds really eclectic. What drove that choice?
AB: I'm a fan of combining art forms, generally, when it feels like it can enhance the story. Sometimes we take theater too literally as realism, like it has to be similar to a movie. But why not add a construct that reminds people that it's live art happening in front of you?

The language is musical so adding music helps. The play is also structured in five acts and, to give the action a bit of a break, let the audience use the restroom or chat. Having songs that give an alternate view into what's going on with Alceste I think helps propel his story. Also, the location at the BLB helps here with it's casual nature, drinks being served at the show and general feeling that a show there is a party. THE MISANTHROPE takes place at a party!

I also think the lyrics of Beirut are eerily similar to Alceste's plight. I was taken by a video where I saw the band go into a French cafe and perform one of their songs (which ends up in this show). It was like, "Hey, we're going to give you something free!" Well, at the Bryant Lake Bowl you get a 2-for-1! Live music and a live performance. It's a really great deal.

Your cast is lesser known and some are newer to the area - did any of them come here with you/for you and this show? Do any of them have familiar backgrounds for Twin Cities audiences?
AB: I met most of them at auditions! I posted online and got submissions and went from there. Devon flew in from Ithaca, New York, for her break from school to specifically play Celimene. I thought of her immediately when I decided to direct this. I also saw two of the actors, Sam and Pegeen Lamb, at a show at the Theatre in the Round and asked them if they'd like to audition. I liked their chemistry and wanted to see that friction played out in a different way on stage. I also loved the costume design for that production so I asked that desiger, Jenna Rose Graupmann, to design and thankfully she said yes. Everyone looks incredible.

How have audiences responded to the show?
AB: Not to toot my horn but it's been really positive! We've had almost full houses, which is rare for a first weekend at the BLB, and the audiences have been laughing and applauding hard by the end. I think that says a lot of the actors' work... this language is more difficult because of the constant rhymes and they tell the story clearly. Watching from the back, I knew people were following.

Also, and this is really important, a lot of people coming aren't regular theater goers. They are people that love music as well. Or, they know the scenic artists (which is a surprise I can't reveal). So, this production widens the net of audience goers... and that alone is a success.

Has the setting at the Bryant Lake Bowl stage enhanced the show as you imagined?
AB: Drinks... music... loud noises coming from the bowling alley... definitely. I'm also waiving my usual fee and giving all net proceeds back to the acting company. Working at the BLB is very affordable so it keeps the production costs low. In short: The more people come the more the actors make.

What is next for you?
AB: I'm working with Deborah Yarchun, Jerome Fellow at The Playwright's Center, on two new works for Workhouse Theatre and Redeye Theater and then returning to the Guthrie to assistant direct THE MUSIC MAN. So far so good. I'll start thinking about next fall once I have a chance to settle this production.

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Show details

THE MISANTHROPE plays at Bryant Lake Bowl, 810 W Lake Street in Minneapolis. The production stars Sam Pearson as Alceste, the misanthropic designer desperate to escape the hypocrisy of society and the couture life at large, and features Charla Marie Bailey, Brian Coffin, Devon Cox, Nathan Gebhard, Anni Jordan-Amberg, Pegeen Lamb, Todd O'Dowd, and Joe Scheller. A live band will also accompany throughout the 90-minute performance. The production team includes Jenna Rose Graupmann (Costumes), Adrian Balbontin (Scenic), Maya Baglein, Lauren Endorf, Sasha Ivanosky-Schow, Greg Novak and Joe Scheller, (Music) and Emily Sullivan (Stage Manager).

Remaining performances:

• Thurs., Jan 15 at 7 p.m.
• Fri., Jan. 9 & 16 at 10 p.m.
• Sat., Jan 10 & 17 at 10 p.m.

For tickets, call the Bryant-Lake Bowl's box office at 612.825.8949 or log on to bryantlakebowl.com. For more information on THE MISANTHROPE, visit http://www.bryantlakebowl.com/theater/the-misanthrope.

Photo courtesy of Adrian Balbontin.