Las Mujeres Sabias
WHY THE LEARNED WOMEN?
When it comes to comedy, few choices are as exciting as Molière, one of the great masters of the genre. The Learned Women, one of his last major comedies, premiered in Paris in 1672 and, more than three centuries later, still has the power to make us laugh while confronting us with human nature.
The play portrays with remarkable insight a mechanism that remains very much alive today: the fraud who discovers what others want to hear and uses that desire to seduce them, manipulate them, and benefit from them. Trissotín succeeds not because his victims are incapable of seeing reality, but because he offers them a reality they would rather believe.
Staging The Learned Women in Miami today is also an opportunity to return to classical theater and rediscover the intelligence of its texts, the richness of its characters, and, above all, theater’s ability to transform the stage into a meeting place where we can laugh at ourselves and confront our fears, our shortcomings, and our contradictions.
We have approached this production with rigor, but also with the freedom necessary to play, have fun, and bring Molière closer to our own time—confirming that, more than 350 years later, frauds still exist, as do people willing to believe them.
MOLIÈRE:
WHEN COMEDY BECAME UNIVERSAL
Jean-Baptiste Poquelin, Molière (1622–1673), was much more than a playwright: he was an actor, company director, and one of the great innovators of comedy. He inherited traditions from French farce, Italian comedy, and the classics, but transformed them into a kind of theater capable of laughing at something recognizable in any era: our obsessions, vanities, hypocrisies, and contradictions.
His characters—the miser, the hypocrite, the false intellectual, the pretentious bourgeois, the hypochondriac obsessed with his doctors—transcended seventeenth-century France and continue to appear on stages around the world. Four centuries later, Molière remains a fundamental figure in comedy because behind his exaggerations and farces lies something that has hardly changed at all: human nature.
THE LEARNED WOMEN:
A FAMILY, A WEDDING, AND A FRAUD
In a household dominated by a passion for culture and knowledge, Enriqueta wants to marry Clitandro, but her mother, Filaminta, has other plans: she wants her to marry Trissotín, a poet she admires and considers a genius.
From that point on, the family is divided between those trying to prevent the marriage and those defending the admired intellectual. Amid love, rivalries, pretensions, and deception, Molière creates a comedy in which a fraud discovers what others want to hear and uses that desire to win their admiration and get what he wants.
CHARACTERS
In order of appearance
ARMANDA
Olivia Parra
The eldest daughter of the family. Intellectual and intense, she considers love and marriage far too vulgar as aspirations.
BELISA
Trina Oropeza
An incurable romantic, she is convinced that she inspires passion in every man she meets.
MARTINA
Paola Ugolini
The maid. Temperamental and outspoken, she says exactly what she thinks, even when it may cost her her job.
VADIUS
Paola Ugolini
A French scholar who enjoys intellectual admiration, especially when it is directed at him.
ENRIQUETA
Vera Franceschi
Practical and straightforward. She simply wants to marry the man she loves and live a peaceful life.
MADELEINE
Kika Solórzano
Intelligent and observant. She understands what is happening and knows when to step in when everyone else complicates matters.
FILAMINTA
Carmen Rojas
The true authority of the household. Her fascination with the intellectual world can prevent her from distinguishing genuine talent from imposture.
NOTARIO
Trina Oropeza
Responsible for formalizing a wedding in which it is not even entirely clear who is supposed to marry whom.
CLITANDRO
Daniela Daboin
In love with Enriqueta. Sensible and well-mannered, he tries to overcome every obstacle standing in the way of marrying her.
CRISALIO
Fede Bozo
The father of the family. He loves peace, quiet, and good food, but struggles to assert his authority with his wife.
ESPINA
Daniela Daboin
A servant in the household, responsible for attending to visitors and handling the everyday needs of his eccentric employers.
Special Appearance
TRISSOTÍN — Luis Carreño
A poet and philosopher who knows exactly what to say to win the admiration of those around him.
Synopsys
THE LEARNED LADIES (Las mujeres sabias)
A Comedy by Molière
Adapted and Directed by Vicente Albarracín
More than 350 years after its premiere in Paris, The Learned Ladies, one of Molière’s great comedies, comes to Miami in a new adaptation directed by Vicente Albarracín and produced by IMAGO POR LAS ARTES.
Henriette wishes to marry Clitandre, the man she loves. Her mother, Philaminte, however, has other plans: she intends for her daughter to marry Trissotin, a self-proclaimed scholar and poet who has managed to captivate much of the family.
From this conflict, Molière builds a delightful comedy of misunderstandings, rivalries, thwarted romances, and eccentric characters, while questioning intellectual vanity, social appearances, and the difference between true knowledge and the pretense of possessing it.
Written in 1672, its perspective feels surprisingly relevant today. In an age of social media, instant experts, and the constant pursuit of recognition, The Learned Ladies reminds us, through laughter, that times may change—and so may the ways we pretend—but some things never seem to change.
Cast
-
Crisalio — Fede Boso
-
Filaminta — Carmen Rojas
-
Armanda — Olivia Parra
-
Enriqueta — Vera Franceschi
-
Belisa — Trina Oropeza
-
Madeleine — Angélica Solórzano
-
Clitandro — Daniela Daboin
-
Trissotín — Luis Carreño, Special Guest
-
Vadius — Paola Ugolini
-
Martina — Paola Ugolini
-
Espina — Daniela Daboin
-
Notario — Trina Oropeza
Adapted and Directed by: Vicente Albarracín
Produced by: IMAGO POR LAS ARTES
Performances
-
Thursday, October 1, 2026 · 7:30 PM
-
Friday, October 2, 2026 · 7:30 PM
-
Saturday, October 3, 2026 · 7:30 PM
NJB Cultural Center
3100 NW 72nd Ave #127
Miami, FL 33122
