EDGE Philadelphia

When Moliere set out to write The Misanthrope in the late 1700’s, he attacked nothing less than the entire superficial court society of his age. In its premiere production, the Mauckingbird Theatre Company-committed to producing gay-themed theatre-reconstructs his play in an unnamed period "when gay men ruled," an era in history where the artifice of empty manners and appearances rules men more than principle.

Except for Alceste (Dito van Reigersberg), the principled hero of Moliere’s play in this updated translation by Ranjit Bolt. Disdaining the world of flattery that dominates the court-culture of his age, he’d rather spite his own cause in a lawsuit than follow the suit of his times that equally praises imbeciles and the deserving. And given the chance to avail himself of the favors of Oronte (Brian Cowden), a person of high influence who only wants to help him win his case, he can’t even bring himself to flatter a meaningless piece of poetry-one of only many grating (yet tremendously funny) episodes in Alceste’s inability to pay lip service to the era’s equivalent of a harmless white lie.

So it’s strange enough that he loves Celimene (Evan Jonigkeit), the worst exemplar of the values Alceste despises. Universally adored by all, this young and wild-eyed beauty holds a court of his own, ensnaring men with idle intention, and then hypocritically insulting each behind their backs. But knowing humanity too well - gay or straight, in any age - Moliere knows that too often we not only want what we can’t have, but we want to bend the adored to our values as well.

If one condemnation of gay theatre is that it too often relies on stereotypes, no one could level this criticism against director Peter Reynolds or his cast and the spectacular display of talent seen in the individual nuances of characterization by the entire ensemble. Even the superb performances of Reigersberg, filled with an impotent, raging rancor, and his would be equal in virtue Arsinoe (Keith Conallen)-whose face-painted expression crumble under the weight of a well-turned insult-blend smoothly amidst the mix of types and different philosophies of love expressed in the play.

Reynolds’s engaging production bristles with bitter humor, timing the wit of each insult so that each character gives in spite and scorn as good as he gets, and where the priceless line, "your uppence has finally come," could easily apply to all.

The undeniably beautiful costumes, coupled with designer Marie Anne Chiment’s eye for just the right touch of jewelry or tint of hair (not to mention clothing Conallen entirely as an aging Geisha), stand out against the spartan efficiency of the set to make this production more elegant than a budget 10 times the size could have achieved.

Only missing: in this shortened version (90 minutes), too much of the intrigue gets cut out, and subsequently, the world so hated by Alceste becomes like the set - a very small world indeed; and the larger critique of the superficiality of any society-gay or otherwise-gets lost in this production. In the end, Alceste can only storm out as only a jilted lover, not as a man whose judgments against a shallow society have finally found confirmation.

But this adaptation - filled with an engaging mix of modern language and rhyming verse - lies far closer to the heart of what Moliere intended than a mere update of the words could achieve. Even if he wants us to believe that Alceste is fully justified in hating the shallowness that surrounds him, like Bradley Wrenn’s compelling portrayal as Philinte - the defender of contemporary morals - shows, we better learn to laugh at the world if we want any chance of living in it.

The Mauckingbird Theatre Company presents Moliere’s The Misanthrope on the Second Stage at the Adrienne, 2030 Sansom Street, until Feb. 2. Tickets available at the box office, by calling 215-563-4330, or online at www.mauckingbirdtheatreco.org