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The Madwoman of Chaillot
Presented by: Melbourne Theatre Company
Venue:
The Playhouse at The Arts Centre
Reviewer: Adam Rafferty - Theatre People Editor
Date Reviewed: 14th November, 2007
Jean Giraudoux’s 1943 poetic satire about a Madwoman who almost
single-handedly defends her city against parasitic prospectors and
profiteering businessmen has a peculiarly British ‘stiff upper lip’
kind of attitude for a play written during the Nazi occupation of
France. That being said the lilting style, unsophisticated messages
and clichéd manners of this theatrical oddity give it a curious
charm that only the French could conspire to create.
When a visiting Texan realises from the taste of the water in the
neighbourhood of Chaillot that Paris is sitting on a well of ‘black
gold’ he brings together a league of scheming businessmen to begin
setting up derricks right on top of the charming community of
characters that meet at the Café Francis. But the concoction of
quirky locals has a Head Crazy - Countess Aurelia, played by Magda
Szubanski – and she’s not about to let some devious bloodsuckers
ruin her day.
 The
first thing that strikes you about this production is the pleasantly
Disney-esque set design. Monolithic in both acts, I’m sure this play
has rarely seen such gargantuan and whimsical styling. The gorgeous
gothic arches and massive acanthus footed column of the Countess’
lair make it feel almost as though it is part of the crypt of Notre
Dame itself. I would not have been surprised to see either Quasimodo
or the Beast creep down Stephen Curtis’ wonderfully worn looking
steps. Curtis’ achievement is completed by the fanciful costume
design with its amusing clichés and glorious colours telling
something about each character, while Toby Sewell’s Lighting Design
compliments both set and costumes beautifully with superb violet and
lemon tones reflecting the palette of the classic Parisienne.
L-R: Sue Ingleton, Magda Szubanski, Julie Forsyth
Photograhpher: Jeff Busby
Director Simon Phillips has skilfully arranged 14 cast members
around the myriad characters that this story holds, most
interestingly having Sue Ingleton, Julie Forsyth and Kerry Walker
double as both the opportunistic schemers of the first act and the
countess’ trio of even weirder friends in the second. In doing so,
he has created an appealing comparison for the audience to determine
who the real madwomen (or men) may be. A cast this size can often
become a confusing mess on stage, but both Phillips and the ensemble
have been able to carve out unique attributes for each and every one
of the little characters, creating a milieu that exemplifies the
hubbub of Paris.
For a change, Szubanski doesn’t find herself having to cross-dress
in a theatrical role and instead creates a character of beautiful
subtlety and stunning restraint. The calmness and sideways
rationality of Szubankski’s Countess could seem deceptively pitch
perfect, but the lack of light and shade in her performance forces
her dialogue to float out across the audience, tripping the triggers
of her punch lines on a sort of time delay. This means that some
elements of her portrayal don’t work entirely, but the benefit of an
ongoing audience should tighten this up. In the words of the
Countess herself, "nothing is ever so wrong in this world that a
sensible woman can't set it right in the course of an afternoon."
Timing aside, Szubanski’s delivery is fun, unexpected and
heart-warming.
 Ingleton
and Walker, fail to ignite in their portrayals of The President and
The Baron respectively, but come alive as Madame Constance and
Madame Josephine. Ingleton’s gaping and gurning with the ghost of
her long dead dog Dickie is thoroughly amusing in the second act,
and the stern form of madness that Walker brings to Madame Josephine
is enchanting to behold. Forsyth’s Prospector is more successful and
curiously intriguing, although she could have been helped by
wardrobe through a packed ‘lunchbox’ as all the wide-legged ‘man
sitting’ she conducts reveals a rather feminine trouser front! While
somewhat overstated her Mademoiselle Gabrielle is cute to say the
least; giggly and ebullient throughout the second act she devises a
further form of madwoman providing a fun fourth for the stunning
quartet of varying shapes of insanity.
The ensemble work extremely well together: Melinda Butel delivers a
glorious portrayal of Irma, Countess Aurelia’s protégé, and provides
a deliciously French melancholy at the end of Act One; Sam Hryckow’s
mesmerising mime technique inspires spontaneous applause from the
audience and as the Deaf Mute his interactions with Irma are
adorable; Stephen Phillips’ interpretation of Pierre is charmingly
enigmatic and sweet; Mitchell Butel’s Broker is amusing and an
excellent distraction, however his Ragpicker is manic and far too
camp, sapping the significance out of the judgement scene. As a good
ensemble should, the cast add fantastic texture and flavour to both
Acts, which is quite an achievement in a show so sodden with roles.
Melbourne Theatre Company have created another delectable confection
for the end of year silly season - an outré outing if you will -
which while it won’t be to everyone’s taste, will certainly cause
salivation amongst those who love an absurd delicacy.
Magda
Szubanski
Photograhpher: Jeff Busby
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