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As written by Wright, however, Don Juan is a simple cad, completely lacking in charm, intelligence, and self-awareness, and his atheism is clearly morally wrong. At the top of the story and every step along the way, other characters keep telling him that he’ll go to hell. Spoiler alert: he does. There’s no moral exploration. Nothing changes. And nothing much matters. There’s not a whiff of real lust. And there’s no real sense of the consequences of lust. Unlike in Mozart’s operatic version, Don Giovanni, which contains terrifying music, nothing is scary here; Wright’s adaptation fails to make a compelling case for the play’s quaint Catholicism. And very little is funny. Secondary characters prance about wearing commedia dell’arte masks, but the physical business of running into pillars and so on mostly falls flat.
“Don Juan” continues through June 7 at the Pearl Theater, 555 West 42nd Street, Clinton; 212-563-9261, pearltheatre.org.
Adams plows head-on into the lead role along with Heberlee as Don Juan’s servant. They engage in some trenchant philosophizing in Act 2, and both create comic chemistry onstage. But the play’s humor is often blunted when the script becomes burdened by Burkle’s long lines of alliterative language.
Geraldine Pailhas in nude scene from Don Juan DeMarco which was released in 1995. She shows us her tits.
This is constantly qualified by people telling us how hateful Don Juan (or DJ) is: most vociferous is his long-suffering valet Stan (a splendid Adrian Scarborough). But flagging up DJ’s immorality doesn’t change the fact that most of the gags are about how appallingly he treats people, mostly women: in the play’s most audacious scene, he receives a blowjob from a materialistic working class lass he’s just met, while simultaneously trying to chat up a posher bride whose husband he has possibly just killed. It is funny, but it’s underpinned by some fairly rank male fantasies.
