 "Photo: Courtesy of Christopher Nelson")
Sometimes it takes a lunatic to save us from evil.
Even though the play was written in 1945, “The Madwoman of Chaillot” — featured at the Bonstelle Theatre each weekend until Oct. 26 — tells a story that deals with issues which resonate strongly in the modern world. The show was directed by Dennis E. North, stage-managed by Jennifer Patrick and adapted by Maurice Valency from a script by Jean Giraudoux.
Countess Aurelia (Bethany Hedden) is the madwoman of Chaillot. She loiters around her Parisian café, dinging a bell and tweeting a whistle, causing an amusing and cheerful distraction for her friends and the townsfolk. She is demanding, outlandish and an institution in her Parisian neighborhood.
One morning she overhears a group of sinister businessmen discussing their latest plan for economic domination at the cafe. The men — a corporate CEO (Brian Tony Yacoo), a broker with a questionable background (Bill Zimmerman) and a portly baron (Alex Wisz) — enlist the help of a nearby prospector (George Abud). Their plan is simple, but will make them even richer. They want to dig for oil in Paris.
The use of oil in “Madwoman” relates to today’s world, although it is somewhat cliche for it to be used as a plot catalyst.
The Countess is shocked. Her world is one part delusion, one part naivety and one part unrestricted optimism. She cannot comprehend how anyone could be so greedy. How much richer do the rich need to be?
Corporate greed. If you have checked the headlines lately, it might just ring a bell.
Her wacky friends try to set her straight. They admit that they find the world depressing and seem unsurprised by the men’s plan.
However, she is not dissuaded. She hatches a nutty plan of her own. By the end of the day, she lures the men into the basement of her ill-kept mansion. This is where you can find your oil, she tells them. It’s under my mansion, she says. Of course, there’s no oil to be found.
The Countess (Hedden) dominates the show. And her sidekicks — including a street juggler (Joe Hamid), a sarcastic waiter (Christopher L. Tucker) and an invisible dog named Dickie — remain nuanced yet hilarious. The three actors perform together flawlessly. The two sets the show employed, though elegant, were almost unnecessary given the actors’ strong ability.
It’s a strange story, but the actors bring it to life seamlessly, keeping the audience laughing hysterically all the while. Their performances are enhanced by Valency’s and Giraudoux’s comedic dialogue written for the characters, Hedden’s in particular. Much of the reason “Madwoman” is hilarious is due solely to the Countess’ slew of witty comebacks to the other characters’ statements.
The cast of “Madwoman” excels by forcing the audience to come to terms with their own pessimism and reminding them that sometimes the most idealistic of solutions might just work.
Grade: A-
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Auditions are tomorrow.
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