There’s no ‘Dispute’ about it: Bogart is a keeper

When it comes to infidelity, which is the first betrayer: the man or the woman? And would the answer be the same outside of the structures of society? The eighteenth century French dramatist Marivaux explores these questions in ‘La Dispute,’ now playing at the American Repertory Theatre under the direction of Anne Bogart and in association with the Saratoga International Theater Institute Company.

The company of 10 men and 10 women execute a spectacle of dance and movement in the play’s stunning prologue, performing seductive game-like dances, pulling in members of the opposite sex and consequently casting them away. The play begins with individual actors walking out on stage and examining themselves in an imaginary mirror. They are dressed in various styles of black clothingeverything from youthful punk-goth styles, to tuxedos and evening gowns (thanks in large part to ART sponsor Georgio Armani). The audience has been unofficially invited to a dark, offbeat singles’ party in which the actors behave like tarantulas stalking their prey. However, one male and one female wear white (the reason for this differentiation arises later in the play). The sequence spirals into a dueling flamenco dance between the sexes, as well as a ravenous race to eat apples. Garden of Eden references run continuously throughout ‘La Dispute,’ and Marivaux’s script and Bogart’s direction force us to consider the origins of sexuality and betrayal as a result.

When Marivaux’s script fully enters the production, the play loses a bit of the momentum but remains captivating. The Prince (Frank Raiter) and his wife, Hermione (Lynn Cohen), debate the nature of betrayal in marriage. While Hermione accuses men to be at fault, her husband presents a dreamlike experiment in which four children, two boys, Azor (Stephen Webber) and Meslis (Barney O’Hanlon), and two girls, Egle (Ellen Lauren) and Adine (Kelly Maurer), grow up in isolation. Once they are let loose and encounter each other, they pair up and innocently fall in love. Abandonment of the ideals of love ensues when the couples mix and temptations spark.

Bogart’s magnificent adaptations and staging make ‘La Dispute’ worthwhile. She works with Marivaux’s often-flat script and crafts a stylized, intriguing world of motion around it with great finesse. The SITI’s signature Suzuki Method is evident.

One of the production’s highlights is a vicious yet humorous game of jealousy and competition, as well as a play of mirrors between Egle and Adine, revealing aspects of women’s relationships with each other. Another strong aspect is how the characters Carise (Lizzy Cooper Davis) and Mesrou (Remo Airaldi) act as guides for the four lost children and conduct scenes with assertion and grace. Yet, Bogart’s direction is not flawless. The insertion of the ’80s power-ballad ‘All By Myself’ into a scene where Egle first experiences the feeling of lonleliness and wails hysterically, detracts from the overall sophistication and fluidity of the production.

The solid performances and Bogart’s sharp direction make ‘La Dispute’ a unique work of art and mostly successful adaptation of a script that is over two hundred years old. The play’s constant disclosure of the not-so-great aspects of the battle of the sexes causes us to reflect on our own lives and relationships, resulting in both laughter and self-conscious uneasiness. It would definitely be an interesting choice for a Valentine’s Day date.

The American Repertory Theatre presents ‘La Dispute’ through Feb. 22 at the Loeb Drama Center, located at 64 Brattle St. in Harvard Square. For tickets and more information visit the ART website at www.amrep.org or call the Box Office at (617) 547-8300.