'The miser' in The Hague: great comedy with wind, water and fog

A new production of Molière’s *Tartuffe*, titled *Der Geizige* ("The Miser"), has opened as part of the annual Theater Sommer festival in Haag. Directed by renowned German director Leander Haußmann, this adaptation marks his second consecutive year staging a play during the festival. Following last year's performance of *Die eingebildete Kranke* ("The Imaginary Invalid") featuring Ursula Strauss, Haußmann now brings Molière’s classic to life once again, this time with a unique twist. The role of Harpagon, the titular miser, is played by Gerti Drassl, who can choose whether to portray the character as male or female. This flexibility adds a layer of intrigue and allows the audience to engage with the character in multiple ways.

The production features the same ensemble cast as last year, but the setting has changed significantly. Instead of emerging from a theater wagon, the actors step out of a massive vault-like structure placed on the main square adjacent to the open-air stage. This choice reflects the central theme of the play—money and its influence over human relationships. The script was co-developed by Haußmann and the ensemble, resulting in a version that prioritizes humor and comedic elements over philosophical musings. The story follows Harpagon, an elderly man whose entire life revolves around protecting his wealth. His possessions include not just material goods but also his daughter Elise and son Cleanthe, whom he plans to marry off for financial gain. Meanwhile, Harpagon himself is interested in marrying Mariane, though she is already in love with Cleanthe, leading to a series of misunderstandings and conflicts.

The set design, created by Max Lindner and Laura Weiss, presents Harpagon’s house in cross-section, utilizing typical genre elements such as doors and double floors. The costumes, designed by Cedrik Mpaka, are largely golden and baroque in style, enhancing the visual spectacle. Robin Krakowski plays Valere, the household steward and love interest of Elise, delivering a performance marked by physical comedy and energetic presence. Christian Dolezal, the artistic director of Haag, takes on dual roles as both a marriage broker and a loan officer, even donning a wedding dress in one scene, adding to the farcical tone of the production.

One of the most notable aspects of Haußmann’s direction is the use of special effects to enhance the narrative. Tobias Artner portrays Jacques, the master of ceremonies, who must navigate various obstacles such as wind, water, and fog to mediate between Cleanthe and his irritable father. These challenges are dramatized using blue lighting and soap bubbles, creating an illusion of a house submerged under water. The slapstick scenes are underscored with heroic Hollywood-style music, while a collectively sung rendition of “Father and Son” by Cat Stevens ironically highlights the supposed reconciliation between father and son. As the plot reaches its climax, the somber tones of Leonard Cohen’s “You Want It Darker” provide a poignant contrast before everything ultimately resolves itself happily.

In a particularly theatrical moment, Elise and Cleanthe confront the imaginary fourth wall of the theater, which is then shattered by Harpagon himself—whose coat is lined with numerous mousetraps. Drassl, who had previously portrayed Harpagon as a hunched, stiff, and clumsy old man, strips away her wig and the garments symbolizing status, standing nearly naked and exposed. This moment mirrors the existential themes found in the play *Jedermann* (“Everyman”), where characters confront their true selves. The audience responded enthusiastically, offering sustained applause for the performance.

The production received high praise from critics, earning four out of five stars. The blend of traditional Molière elements with contemporary staging techniques and innovative special effects has been widely appreciated. With its mix of humor, drama, and visual spectacle, *Der Geizige* promises to be a memorable addition to the Theater Sommer festival in Haag. As the festival continues, audiences can expect more performances that push the boundaries of classical theater, blending historical narratives with modern interpretations.