Flea in Her Ear Program

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A Flea in Her Ear by Georges Feydeau Translation by John Mortimer

Teachers’ Resource Pack Researched and written by Amy Westgarth

A Flea in Her Ear at The Old Vic 3 Georges Feydeau: A Life and Career 4 Synopsis 5Characters 7Character Relationships Chart 9Major Themes and Interests 10 Farce and its Origins 12 Introduction by Richard Eyre 14 A Note from John Mortimer 14

In Conversation with…Tom Hollander 15Freddie Fox 17John Marquez 19

Rehearsal Diary from the Assistant Director Psyche Stott 20

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A FLEA IN HER EAR – TEACHING RESOuRCES

A Flea in Her Ear contents

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Georges Feydeau life & Career

1862 – BornGeorgesLéonJulesMarieFeydeauon8DecemberinParis.

1869 – Writeshisfirstplay.

1872–78 – AttendstheLycéeSaint-Louis.

1879–86 – Performsplaysandmonologuesinamateurconcertpartiesandtheatreclubs.Writeshisownmonologuesandone-actcomedies.Duringmilitaryservicein1884hewriteshisfirstfulllengthplayTailleur pour dames.Worksasanassistanttheatremanagerandwritesanewspapercolumnaboutthestage.

1886 – On17December,Tailleur pour dames(A Gown for His Mistress/Fitting for Ladies)beginsasuccessfulrunof79performancesattheThéâtredelaRenaissance.Duringthenext30yearsFeydeauwritesapproximately60worksforthestage,includingone-actplays,monologues,ballets,comicoperas,aswellasoveradozenfull-lengthplays.

1888 – Chat en poche(Pig in a Poke)isproduced.

1889 – MarriesMarianneCarolus-Duran.

1892 – Monsieur Chasse!(The Game Hunter/The Master is Hunting!/The One That Got Away)runsfor114performances.Champignol malgré lui(A Close Shave)runsfor467performances.Le Système Ribadier(Where There’s a Will)co-writtenwithMauriceHennequinrunsfor78performances.

1894 – Un fil à la patte(Cat Among the Pigeons)runsfor129performances.L’Hôtel du libre échange(Hotel Paradiso/Hotel Casablanca/Heart’s Desire Hotel/A Little Hotel on the Side)co-writtenwithMauriceDesvallièresrunsfor371performances.

1896 – Le Dindon(An Absolute Turkey/Sauce for the Goose/Paying the Piper)runsfor275performances.

1899 – La dame de chez Maxim(The Lady from Maxim’s)runsfor524performancesallowingFeydeautospendtwoyearspainting.

1901 – Feydeau,infinancialdifficulties,sellsmostofhisartcollection.

1902 – La duchesse des Folies-Bergère(The Duchess of the Folies-Bergère)runsfor82performances.

1904 – La main passe(She’s All Yours/Winner Takes All)runsfor211performances.

1906 – Le Bourgeon(The Bud)runsfor92performances.

1907 – La puce à l’oreille(A Flea in Her Ear)runsfor86performancesbutclosesafterthedeathofoneofthecast.

1908 – Occupe-toi d’Amélie(Keep an Eye on Amélie)runsfor288performances.

1909 – FeydeauleaveshiswifeandmovesintotheHôtelTerminusnearSaintLazarestation.

1914 – Je ne trompe pas mon mari(I Don’t Cheat on my Husband)runsfor200performances.

1916 – Feydeaudivorcedbyhiswife.

1919 – Sufferingfromsyphilis,Feydeauentersasanatorium.

1921 – Hedieson5June.

(Datesplayswerewrittenareshowninbrackets)

PleasenotethatthistimelinecontainsselectedFeydeauplaysandtheircorrespondingEnglishtranslations.

Act I TheplayopensinthegranddrawingroomoftheChandebises’householdinParis.VictorEmmanuelChandebiseandhiswife,Raymonde,areclosefriendswithDonCarlosHomenidesdeHistanguaandhiswife,Lucienne.DrFinachehascarriedoutamedicalexaminationofHomenides,forinsurancepurposes.HehascometogivetheresultstoChandebisewhohappenstobeout.Etienne,thebutler,keepsFinachecompanywhilehewaitsandalmostcatcheshiswife,Antoinette,kissingCamilleChandebise(VictorEmmanuel’snephew).CamillebafflesLuciennewithhisspeechimpediment;theresultofacleftpalate.

Raymondeconfidesinherfriend,Lucienne,thatshethinksherhusbandhasbeenhavinganaffairattheseedyHotelCoqd’Or.Shehadbeenconsideringstartingoneherselfwithherhusband’sfriend,RomainTournel,butismortifiedthatChandebisemayhavebeenhavingonealready.TheladiesconcoctaplantotrapChandebise.TheywritehimaloveletterfromanimaginaryadmireraskinghimtomeetheratTheHotelCoqd’Or.Theywillbetherewaitinginsteadandifhearrivestheywillhavecaughthimintheact.LuciennewritestheletterincaseChandebiserecogniseshiswife,Raymonde’shandwriting.

Inaprivateconversation,DrFinacheandCamilleconfesstoeachotherthattheyarebothregularsatTheHotelCoqd’OrandFinachepresentsCamillewithasilvermouthpalatethathecaninserttomakehimspeakproperly.

TheletterfromtheladiesarrivesforChandebise.Unbeknownsttotheladies,thegentlemendecidethatitmustbeacaseofmistakenidentityandcannotbeforChandebisebutmustbeforthehandsomeRomainTournelinstead.Theletterisveryeffective;thementhinktheimaginaryadmirerishead-over-heelsinlovesothelustyTournelagreestogotothehoteltomeether.

DonCarlosHomenidesentersandChandebiseshowshisfriendtheloveletter.Homenidesrecogniseshiswife’shandwritingatonceandisconvincedthatLuciennewroteittoChandebise,whodeniesthisandexplainsthatTournelismeetingheratTheHotelCoqd’Or;Homenidesvowstogothereandkillhim.ChandebisetellsCamillethatifheseesTournelheistowarnhimthathislifeisatrisk.TournelreturnstothehousebutcannotunderstandwhatCamilleistryingtosay.CamilleisdesperatethatTournelshouldunderstandhimsoinsertsthesilverpalatethatDr.FinachegavehimbeforechasingafterTournel.

Act II TheHotelCoqd’Orisrunbyex-armycolonel,FeraillonandhiswifeOlympeasahavenforthosewhowantprivacyfortheirliaisons.

Aroomisvisiblewithabedbesideawall.Feraillonisproudofthis‘camouflagesystem’atthehotel;thewallrevolvesrevealinganotherbedwhichFeraillon’sold,rheumaticUncleBaptistin,isemployedtoliein-atthepressofabutton,guestscanrevolvethewallsothebedsswitch.Feraillonalsoemploysahotelporter,Poche,anoldarmysubordinate,whowasadestitutealcoholicandEugenie,themaid.DrFinachearrives;aregularonfriendlytermswiththestaff.AnotherguestwemeetisHerrSchwarz,anamorousPrussian.

RaymondearrivesandisshowntoherroomwhereshewaitstoseeifherhusbandhastakenthebaitbutisshockedtoseeTournelenter.Tournel,convincedthatRaymondewrotetohimandloveshim,triestoseduceher.Mortified,RaymondeconfessesherschemetorevealChandebise’sindiscretionswhichTourneldenies.RaymondecontemplatesanaffairbutshrinksfromTournel,andpressestherevolvingwallbuttonandBaptistinappears.TournelsearchesforRaymondeandtheyreturntotheroomwhereBaptistinremainssotheypressthebuttontoremovehim,whichrevealsPocheinstead.PochelooksidenticaltoVictorEmmanuel(Raymonde’shusband)whichcausesgreatupsettoRaymondeandTournelwhocontinuallybeghisforgivenessdespitePoche,BaptistinandFeraillonexplainingthatheisPoche,theservant.

CamilleandAntoinetteappearand,alsomistakingPocheforChandebise,fleefearingdiscovery.HerrSchwarzemergesandknocksCamille’spalateout,restoringhisspeechimpediment.SpottingEtienne(Antoinette’shusband)arriving,Camilleflees.EtienneseeksLuciennesohecanwarnherthatherhusbandisintentonmurderbutaccidentallygoestoHerrSchwarz’sroomwhereAntoinetteiswithHerrSchwartz.Etienneassumessheishavinganaffairand,inafury,departs.

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A Flea in Her ear SYNOPSIS

Beforegoing,heseesPocheandmistakeshimforhismaster,Chandebise.Pochethinkstheyarecrazycallinghim‘Sir’and‘VictorEmmanuel’.

LuciennearrivesseekingRaymondeandseesChandebise(whohasalsojustarrived).HedeclaresheknowssheloveshimbecauseherhusbandHomenidesidentifiedherhandwritingontheletter.RealisingthesignificanceofherhusbandseeingtheletterLuciennepreparestoleavewithChandebise.

AmurderousHomenidesarrivestokillhiswifeandTournel.Feraillon,seeingChandebiseandassumingthathe’sPoche,ordershimtoremovehisjacketandputonPoche’suniform.Chandebiseisbulliedintodoingsoandexits.PochethenreturnsseekinghisuniformbutinitsabsencedressesinChandebise’shatandjacket.

RaymondeandTournelseeChandebise(asPoche)andaskhimtocallthemacab.Chandebisedemandstheyexplaintheirpresencetogetherwhichconfusesthemastheythinktheyhaveexplainedtheirinnocencealready(whichtheyhavebuttoPoche).FeraillonappearsandfurtherabusesChandebisebelievinghimtobePoche.LucienneandCamilleentertryingtofleeHomenides;theybecomeseparatedandPoche(whoLuciennethinksisChandebise)rescuesLucienne.Chaosensuesaseveryoneentersandchasearoundthehotel.

Act III Tournel,RaymondeandLuciennereturnfromthehotelhavingbeenchasedbyHomenidesbrandishinghispistol.TheydecidethatChandebise’sseeminglyschizophrenicbehaviourmeanshehasgonemad.

PochearrivesatthehousewantingtoseeChandebisebuteveryoneatthehousethinkthatheactuallyisChandebise.EtiennesendsforDr.Finache.RaymondeandTournelpersistinexplainingtoPochethattheyarenothavinganaffair,believinghimtobeChandebise.Raymondegoestokisshimandsmellsalcoholonhisbreath.FinachearrivesandtheyconcludethatChandebisehasbecomeanalcoholicandissufferinghallucinations.TheysendPochetobedto‘recover’.

Chandebise-stilldressedinPoche’suniform,returnstothehouse.CamilleseesPochethenimmediatelyseesChandebiseandbelievesthatheishallucinatingtoo.ChandebiseisfurioustoseeTournelathishouseasheisstillconvincedthatheishavinganaffairwithhiswife.FinachetriestotreatabewilderedChandebisewhichinfuriateshimfurther.

FerailloncomestothehouseandchasesChandebise,believinghimtobePoche.HomenidesarriveswithtwopistolsandchallengesChandebisetoadual.ChandebisefleesinfeartohisbedroomwhereheseesPocheasleep;recognisingthelikenesstohimselfheisconvincedthathishouseishauntedandrunsaway.PocheiswokenbyHomenides,whothinkshehastrackedChandebisedownandcontinuestochallengehimtoadual.Pocheescapesthroughanopenwindow.

TheothersenterandLuciennefinallyexplainstoHomenidesthatshewrotethelettertoChandebiseasafavourtoherfriend,Raymonde;heisplacatedbyherexplanation.Aftermuchconfusion,allismadeclear.EverybodyrealisesthatthephysicalsimilaritybetweenPocheandChandebisehasbeenthemaincauseofthemadness.RaymondeexplainstoChandebisethatshesuspectedhewashavinganaffairwhichiswhyshesenttheletter.Eventually,allisforgivenrestoringthestatusquo.

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Victor Emmanuel ChandebiseVictorEmmanuelChandebiseisthedirectorofTheBostonLifeInsuranceCompanyinParis.Heisanupstandingcitizenwhovisitsthetheatreandisafaithfulhusband.Hehasmarriedthe‘extremelyattractive’Raymonde.Hiswifeis‘everything’tohim.Chandebiseisasuccessfulman,whoworkshard.Heownsalargehouseandhasthemeanstoemployahouseholdofstaff.

Generousandloyal;hehaskindlyemployedhisnephew,CamilleChandebise,whosuffersfromaspeechimpedimentandalsohisfriendRomainTournel.HeisinnocenttotheseediersideofParisintheearly1900s,forexample,hedoesn’tknowoftheHotelCoqd’Orwhenitisfirstmentionedandwondersifitis‘oneofthosehotels?’Awarethathe’snotthemostattractiveman,hedecidestheletterhereceivesmustbeforhisfriendTournel‘itwasn’tmeshefancied.Itwasyou’;thusprovinghismodesty.Bytheendoftheplayhefeelshethathehasbeenona‘joy-ride’andisquitecontentforlifetoreturntonormal.

Raymonde ChandebiseRaymondeisthewifeofVictorEmmanuelChandebise.Sheisyoung,attractive,imaginativeandfrivolous;herschemecausesimmensedifficultyforallinvolved.Raymondeisextremelyfickle;onemomentsheinvitesTourneltohaveanaffairwithherthenshechangeshermindonceshedecidesthatherhusbandisalreadyhavingone‘Notnow,thankyouverymuch.Notwhenhe’sunfaithful.’Sheisself-centredandselfishyetisnotintentionallymalicious.Shedoesn’tintendtoharmothersbutsimplydoesn’tthinkaboutthemhavinggrownaccustomedtogettingherownway.

Don Carlos Homenides De HistanguaTestosteronefuelled,strongandmanly.TheSpanisharistocratismarriedtoRaymonde’soldfriendLucienne.DrFinacheexaminesHomenidesdeHistanguaandremarksuponhis‘constitution’,heisclearlyafinefigureofaman.Hepossessesapowerfulpresenceandcommandsattention.Homenidesisademandingmanwithafierytemperwhichbubblestothesurfacequicklyandwithoutmuchprovocation.Heproudlycarriesapistolasa‘deterrent’tohiswifeshouldheever‘catchherwithanotherman’.Fullofmurderousintentonseeinghiswife’shandwritinginthelettertoChandebiseheterrorisesthevisitorsatthehotel‘Iwanttokillthem!’Hisfierytemperiseasilyabatedhoweverwhenhiswifeexplainsherpartinthescheme,itseemsthathetrulylovesher.

Lucienne Homenides De HistanguaLucienneisanoldfriendofRaymonde’sfromtheirdaysataconventschool.LuciennethenmarriedtheSpaniardDonCarlosHomenidesDeHistangua.SheisseemsalittlesharperthanRaymonde.Sheiswittyandswitchedon,‘you’vegotnoproof’shewarnsRaymondewhensheisaccusingChandebiseofhavinganaffair.Sheisawareofherhusband’stemperandisterrifiedwhensherealiseshewantstokillherforwritingtheletter‘myhusband’sbreathingdownmyneck.Witharevolver!’Sheappearsalittlebaffledbyherhusband’scharacter‘Whatanimpossiblecreature!’

Romain TournelTournelisadashinglyattractivemanwho‘womenhavecommittedsuicidefor’.HisbestfriendisChandebisewhoalsoemployshimatTheBostonInsuranceCompanyinParis.Tournelenjoystheexistenceofabachelor;heseesmanywomenandadmitstoknowingtheHotelCoqd’Orfrompreviousexperience.Notthemostmoralofmen,hehasfewqualmsaboutembarkingonanaffairwithRaymonde.Heisarrogantandknowstheeffecthehasonwomen.Tournelistotallyself-obsessed‘DoyouthinkIwillbemadeafoolof,infrontofmyself!’

Camille ChandebiseTheyoungnephewofVictorEmmanuelChandebise.Camillehasacleftpalateandsuffersfromaspeechimpediment.Hehasdifficultypronouncingconsonantssohisspeechisalmostimpossibletounderstand.Chandebisehastakenpityonhimandemployedhimashissecretarysothathehasanoccupation.Heleadsadoublelife,athomeheisseenasinnocentandsweet‘thevirginalyoungCamille’butheandDrFinachecomparenotesonTheHotelCoqd’Orwheretheyarebothregulars.Camillehasbeenhavinganaffairwiththecook,Antoinette.

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A Flea in her Ear Characters

Dr FinacheDrFinacheisChiefMedicalOfficerofTheBostonLifeInsuranceCompanyinParis.Hecarriesoutinsurancemedicalsforthecompany.HeregularlyfrequentstheTheHotelCoqd’Or‘it’swhereIgoformylittleadventures’;heenjoystheladiesandadmitstoCamillethathewould‘nevergoanywhereelse’.Arespectabledoctorbydayheventuresintothedarkerrealmsofthecityatnight-thestaffatthehotelknowhimwell.

Etienne PlucheauxEtienneisthebutlerattheChandebises’house.Helikesthesoundofhisownvoiceandisratherself-important.Hetendstoirritatetheguestsandisnotverypolite‘Madame…whateveryournameis’.Heisfrequentlyout-wittedbyhiswife,thecook,Antoinette.

Antoinette PlucheauxWifeofEtienne,sheisthecookattheChandebises’house.ShehasbeenhavinganaffairwithCamilleChandebisebutisacalculatingwomanwhotellslies,backedupwithalibis,whichmeanherhusbandneverquitecapturesher‘intheact.’

Augustin FeraillonThemilitanthotelierofTheHotelCoqd’Or.Hewasonceacolonelinthearmyandlikestorunthehotelwith‘discipline’.Augustinironicallyvalues‘respectability’andthehotel’s‘reputation’,althoughhepracticallyrunsabrothel.Helikestotreatalltheguestswiththeutmostdiscretion.HeismarriedtoOlympeFeraillonwhoalsoworksatthehotel.

Olympe FeraillonThewifeofAugustinFeraillon,sherunsalsorunsTheHotelCoqd’Or.Shehasacolourfulpast.BeforemarryingAugustin,Olympewasknownas‘TheCopper-BottomedContessa’,shewasthemistressofadukeandappearednakedatafreemason’sdinner.Shebecamefamousforthisevent.Nowsheisthegracioushostessofthehotel.

PocheThehotelporteratTheHotelCoqd’Or.OnceservedunderFerailloninthearmybutwasdischargedfordrunkenness.Feraillongavehimajobatthehotelbecausehefindshimeasytocontrol–hebeatshimandmakeshimworkinreturnforhiskeep.Heisuneducated,workingclassandasimplesoul.HefearsFeraillonwhobeatshim.Helikesroutinebutdrinkswheneverhehasthechance.PochebearsanuncannyresemblancetoVictorEmmanuelChandebise.

BaptistinAnold,rheumaticuncleofAugustinFeraillon.Feraillonemployshimtoactasadecoyatthehotel,shouldasuspectingspousearrivetosearchfortheirunfaithfulhusbandorwife.

EugenieChambermaidatTheHotelCoqd’Or.Asimplegirlwhofollowsorders.

Herr SchwarzAsex-crazedPrussiangentlemannicknamed‘HerrShutyourhole’byPoche.HeisaregularatTheHotelCoqd’Or.NobodyunderstandshimashespeaksonlyGermanbutheinsistsontalkinganyway.Heappearstobealwayswaiting,hopingthataladywillcometovisithimbuttheyneverdo.Desperateforfemalecompanyheaccostsanywomanhecangethishandson.

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A FLEA IN HER EARMAIN CHARACTER RELATIONSHIPS

Lucienne Don Carlos

RomainTournel

Raymonde VictorEmmanuel

Homenides

DrFinache

HerrSchwarz

Camille

Antoinette Etienne AugustinFeraillon

Olympe

Baptistin

Poche

Eugenie

UNCLE

UNCLE

BELIEVESLUCIENNE HAS

AN AFFAIRWITH ROMAIN

IN FACTDESIRES

RAYMONDE

IS HAVING ANAFFAIR WITHANTOINETTE

GUEST OF HOTEL

Chandebise

AUGUSTIN OWNS THE

HOTEL

MARRIEDMARRIED

HOTEL EMPLOYEES

MARRIEDMARRIED

PHYSICIAN TOEMMANUEL

ChandebiseResidence HotelCoqd’Or

AppearancesAppearancescanbedeceiving.Typicalofafarce,oneofthemaincausesoftheactionisacaseofmistakenidentity.MuchoftheconfusionthatoccurscouldbeavoidedifonlythecharacterswouldrealisethattheyhaveconfusedChandebiseandPoche.ThisservesacomicpurposebutFeydeauisalsomakingamoreprofoundcommentoncivilisation.Inthe19thCenturywhatyouworespokevolumesaboutwhoyouwere,howmuchmoneyyouhad,whatclassofsocietyyoucamefromandhowmuchvalueyouthereforedeserved.Lessovertlyobvioustoday,wedostillhoweverjudgepeopleontheirappearance.ThecharactersintheplayrelysoheavilyonappearancesthatRaymondedoesnotrealisesheistalkingtothehotelporter,notherownhusband,simplybecausetheylookthesame.Feydeauseemstobecommentingonhoweasilypersuadedwearebyappearances,somuchsothataservantcanbecomeagentlemanmerelybychanginghisjacket.

Marriage Inthe19thCenturymarriagewasstillrespectedasacrucialinstitution,theonlywayamanandwomancouldleadanhonest,piouslifetogether.Childrenproducedoutsidemarriagewerestillbrandedbastards;marriagewastheonlyrespectablewaytoprocreateandlivewithamemberoftheoppositesex.Feydeauwasunusualbecausehedidn’tdepictmarriageasaninfallibleunion;allthemarriagesintheplayhavefaults.Feraillon,defendingthereputationofhishotelbysaying‘onlymarriedcouplescomehere’confirmsthelinkbetweenmarriageandrespectability.Lackofcommunicationisadistinctproblemwithinthemarriagesoftheplay,asDrFinacheadvisesChandebiseoncehehasdescribedhisimpotence‘Youshouldhavetoldyourwifeallyoutoldme…she’dhavehadagoodlaugh,andyou’dhaveenjoyedthejoketogether’.Feydeauwasanobserveroftheliberal,funlovingcultureofParisinthe19thCentury.Hewitnessedthehedonisticbehaviourgoingonaroundhim,topresentitonstagetotheverypeopleonwhomitwasbasedwasbothdaringandshockingandallthemorefunnybecauseitwassoclosetothetruth.

Infidelity and SexTheplayopenswithAntoinettetryingtokissCamille.EtienneisthenseenexplainingtoDrFinachethatAntoinettehas‘gotsomestrangeideaaboutmeandthehousemaid’;immediatelyinfidelityisestablishedasamajorthemeintheplay.RaymondebelievesVictorEmmanuelisunfaithfulwhilstalsoconfessingthatshehas‘eventhoughtabouttakingalover’.TourneldoesnotseemtomindthatRaymondeismarriedtohisfriendandemployerandpursuesherregardless.TheHotelCoqd’Or’smainpurposeistoprovideaplaceof‘tactanddiscretion’forthosewhoareunfaithful.Throughouttheplaycharactersarethemselvescommittingadultery,thinkingtheirpartneriscommittingadulteryorbeingaccusedofcommittingit.Sexisalludedtofrequentlyinthetext.FeydeauusesinnuendotoinsinuatesexualreferencesandevenacknowledgesthatheisdoingitthroughFeraillonsaying‘I’mnotmakinganyinnuendoes’.DrFinachealludestoHomenides’sexualprowess‘Whataconstitution!Whatstamina!’andthewholedescriptionofChandebise’simpotenceisrealisedthroughmetaphorandinnuendo.Feydeaumakesitovertlyclearthatheismakingtheserisquésexualreferencesbuttheinnuendoesservethecomicpurposefarbetterthansayingthemoutright.

Self-obsession/ NarcissismIfonlythecharacterswerelessconcernedwiththeirowncircumstances,theywouldbefarbetterequippedtofindoutwhatisactuallygoingon.RaymondeandTournelparticularlyarebothutterlyself-obsessed;RaymondehassuchdoublestandardsthatevenwhentalkingaboutChandebisehavinganaffairsheadmitsthatshe‘maywanttodeceivehimbutforhimtodeceiveme!No!It’sgoingtoofar!’Raymonde’shypocrisyisborneofhersenseofself-importance.Tournelisembarrassedofbeing‘madeafoolofinfrontof[him]self!’TheyarebothsointentontalkingthemselvesoutoftroublewithChandebisethattheyentirelydominatetheirfirstencounterwithPocheandbarelyaskhimanyquestions;theyjustkeeptalkingandthereforedon’tnoticethathesimplyresemblesChandebise.Homenidesissimilarlynarcissistic;oncehedecidesthatLucienneishavinganaffair,hechargesaroundhell-bentondestruction,brandishinghisweapons.Hedoesn’tstoptoquestionthesituationbutsimplywantsvengeance.Theyareallblindtoanysimpleresolutionbecausetheyaretooself-absorbed.Itisn’tdifficulttoimaginethesecharactersexistingintheParisthatFeydeauinhabitedwhichvaluedfun,pleasureandliberationoftheself.

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A Flea in Her Ear Major themes & interests

Timing Timingiscrucialtothesuccessofthisplay.Feydeauknewthiswhichiswhytheplayisaccompaniedbydetailedstagedirections.Themanyentrancesandexitsareallvitallyimportantandspecificallyplaced.Theypunctuatetherhythmoftheplayandhelptotranslatethequickenergyoftheactionandthesenseofconfusion.Thereissomuchgoingonallatoncethattheaudiencefeelthesamesenseofbewildermentasthecharacters.Muchoftheplothingesonpeoplejustmissingeachother,prolongingtheanticipationofaresolution.InActIChandebisejustmissesTournel;theaudienceseeChandebiseleavetowarnTournelthatHomenideswantstokillhim,andoncehe’sleft,immediatelyTournelentersagain.Tomakemattersworse,Camilledoesn’trememberhismetalmouthroofuntilTournelhasalreadyleftoncemoresoisunabletospeakclearlyenoughtowarnhimofthedanger.

ClassTheplaymockstheworldofthe‘chatteringclasses’.EventhenameofDonCarlosHomenidesdeHistanguaissooverthetopthatitseemsridiculous;Etiennemocksitbysaying‘whateveryournameis’.Theplaysuggeststhatmoralsinthesecirclesarelooseandthatinfidelityisrife.It‘sendsup’menlikeTournelasgoodlooking,abitstupidandspendingalltheirtimechasingladies.Itmakestheladies,LucienneandRaymonde,appearselfishandsilly.MenlikeChandebisecomeacrossasnaïve.WhentheactionmovestoTheHotelCoqd’Or,thealleged‘workingclass’arebetterbehaved;FeraillonandOlympebeinghappilymarriedandfaithful.ThroughtheconfusionwithChandebiseandPocheitseemsFeydeauiscommentingthat,foralltheirairsandetiquette,allthatreallyseparatestheupperandthelowerclassesistheirclothes.

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What is farce?FarceisastyleofcomedythathasitsrootsasfarbackasGreekandRomanTheatre.Ithaditsrealheydayinthe19thandearly20thCentury,however,particularlyinFrance.Acomedycanbedefinedasafarcebythefollowingcharacteristics:

Animprobable,unlikelyplotfeaturingextremeandheightenedsituations.−−Charactersindisguiseandcasesofmistakenidentity.−−Respectable,dignifiedcharacters.Thismakesitmuchfunnierwhen−−undignifiedthingshappentothem.Wordplay;flirtatiouslanguage,sexualinnuendo,doubleentendres(double−−meanings).Physical,stylizedperformancesofexaggeratedcharacters;stereotypesof−−theirclassandsex.Thelivesofthecharactersarelessimportantthantheplot.Thesestylized−−performancesmeanthatthecharactersaremorerepresentativeofatypeofpersonthananindividual.Thisgeneralisationmakesthecharactersbetterabletoreflectlargegroupsofsociety.Aplotconsistingofsexualmisadventure,deception,charactersdeflecting−−blame,comicdespairandasensethateverythingisabouttogoverybadlywrong.Spontaneousactionthatbuildstoafinalcrescendo,oftenendinginachasescene.

When? Historical ContextTheperiodfrom1890–1914isnowknownasLaBelleÉpoque.ItwasatimeofrelativepeaceandstabilityinWesternEurope.Thesocalled‘secondindustrialrevolution’includedadvancesintechnologythataffectedtheeverydaylivesofpeopleallovertheadvancedcountriesofWesternEurope.Railwaysbegantoconnectmanyofthemajorcitiesoftheserapidlychangingcountries.Electricitywasbetterunderstoodmeaningthatpeoplecouldhavebasicelectricheatingandlightintheirhomesinsteadofonlygas.Communicatingbecameeasierwiththeinventionoftelephones,telegramsandtypewriters.

Parisflourishedastheartisticcapitalofthewesternworld.Thefashionindustrystartedtobehavemoreasitdoestoday,designersbeganchangingtheircollectionswiththeseasons.Cafésandrestaurantssprangupalloverthecity.Artists,musicians,writersandperformerswerealldrawntothisexcitingandthrivingmeltingpotofcreativity.

Inprevioustimes,theatre-goingandenjoymentoftheartshadbeengearedtowardstheupperclassesbutnowthemiddleclassesparticularlystartedtoenjoytheseactivitiesaswell.Peoplewhoworkedhardstartedtoplayhardtoo.‘HalfamillionParisiansattendedthetheatreatleastonceaweek’statesFeliciaHardisonLondréinherbookWords at Play.

ThemiddleclassesinFrancewerenowmakingmoremoney;theyownedfactoriesandcouldpaytheworkingclassesverylittlemoneytherebymakingthemselvesanawfullot.Thiswasacapitalistsocietywheretheoldsystemsofhereditarytitlesandaristocracybecamelessimportantthanobviousdisplaysofwealth.Thesepeoplelikedtobeseenatthemostfashionableplaces,displayingtheirluxuriousclothesandpresentinganimageofaperfectlifeandtheycametobedescribedasthebourgeoisie.

Withsomuchfuntobehadthebourgeoisiewerenotimmunetothedarkersidesoflifetoo.Moralsslippedsomewhatandinfidelitieswererife.Feydeaureflectsthisinhisfarcesofthetime.Hehadaregulartablebookedattheexclusiveandfashionablerestaurant,Maxim’s,whereheobservedtheanticsoftheotherguestsforlateruseinhiswriting.SomethingthatFeydeaufrequentlyexploresinhisplaysismarriageandinfidelity.

FrancewasmoreliberalthanEnglandatthistime.From1737until1968allplaysintendedfortheBritishstageweresubjecttoTheLordChamberlain’scensorship.Allproductionshadtoreceivealicenseforpublicperformancedependentuponthecontentandmoralityofthepiece.FeydeauwastooraunchyfortheBritishstagesowhenA Flea in Her EarwasfirstbroughttoEnglandin1917thetranslatorshadtomakeextensivechangestothescripttomakeitseemmoreinnocent.

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A Flea in Her Ear Farce & its Origins

Who? Main contributorsThemostwell-knownFrenchwritersoffarceareLabiche(1862–1921)andFeydeau(1862–1921).Labiche’splaysreflectedthedailylifeoftheFrenchbourgeoisieintheirpursuitofpleasure,moneyandmarriage.Feydeau’splaystookamorecynicalviewofthebourgeoisie,theyaremorecriticalofsociety,raunchierandopenlysuggestiveaboutthesexlivesofthe‘welltodo’.Labicheisheraldedmainlyforthevolumeofplaysthathewrote–anestimated174–whileFeydeauiscreditedforhisabilitytovisualisethephysicalactiononstageandhisskillatalmostconductingtheaudience’slaughterwiththeprecisionofanengineer.

What is the relevance of farce today?ThusfarFarceintheatrehasbeenlessprevalentinthe21stcentury.Thedifficultyinwritingafarceforthecontemporarystagemaylieinthefactthatsocietyhasfarfewertaboostodaythanitdidinthe19thCentury.Oneofthemainfunctionsoffarcewastooverturn,andthereforequestion,widelyacceptedvaluesandforthatreasonitflourishedinacommunitysupposedlydominatedbymoralcodeandconduct.Thequestioningofclassandmoralitywhichwassoshockingthenisfarlessrelevanttodaywhenclassboundariesaremuchmorelooselydefinedandinstitutionslikemarriagelesswidelyadheredtoornecessary.

Oneofthelast,mostsuccessfulfarceswrittenwasNoises OffbyMichaelFraynin1982butsincethenitisnotagenreoftenattemptedbymodernplaywrights.Thatsaid,elementsappearinmanytelevisioncomediesandthatisperhapsthegenrethathasabsorbedfarcemostwelcomingly.Therelationshipbetweenfarceandthecameracanbeseenasearlyasthe1920s,withCharlieChaplinusingelements,butcontinuesthroughtoFawlty Towersinthe1970s,Blackadderinthe1980srightuptotodaywithcomedieslikeFriends,Curb Your EnthusiasmandPeep Show.

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IwasluckytobeafriendofJohnMortimerandifIhavearegretaboutdoinghisversionofA Flea in Her Ear,it’sonlythatJohncan’tbeheretoseeit.HediedinJanuary2009.Iwasaskedbyhisfamilytogivetheaddressathisfuneral.ThisispartofwhatIsaid:

‘YoucouldsayJohnwaslargerthanlife;youcouldalsosaythatlifewassmallerthanJohn.Hislegacywillbesomehugelyentertainingplaysandnovels,somedazzlingepigramsand,inRumpole,acharacterwhocanstandbesidethoseofShakespeareandDickens.Aboveall,though,whatwillsurviveofJohnwillbetheaffectionofhundredswhoaregratefulforhavinghadthelucktospendtimewithamanwhowastouchedbygreatness–whowashumane,generous,liberal,loving,charming,funny,flirtatious,seductive,sexy,raffish,kind,sometimesbashful,neverboastful,oftenvulnerableandfullofself-doubt,fastidious,proud,just,indignantonbehalfofvictimsandpassionateonthepartofthedispossessed,extravagant,wise,decent,tolerant–andunique.Hemultipliedthegaietyofnations.’

A Note from John Mortimer Theworldoffarceisnecessarilysquare,solid,respectableandtotallysureofitself:onlysocanitbeexploded.Thereisnothingcomicalaboutatremblingmasochistbeingkickedonthebehind,orasprightlyandpermissivecollectionofSwedishteenagersbeingcaughtinthewrongbedrooms.Theseeventsmustoccuronlytothemostdignifiedandmoralpersons.Itisimpossibletobefunnyaboutfunnypeople.Feydeau’scharactersaretriumphantlyserious.

Theyarealsomature,andalmostcompletelysatisfied.Theyhavesettled,onthewholegratefully,forsecurity,marriagewiththeDirectoroftheInsuranceCompany,afewnightsoutatthetheatre,andafewsafelyuncompromisingglancesatthehusband’sbestfriend.It’sallsound,predictable,andalittledull.Thehusbandsarenotquiteintheirfirstyouth,inbedtheyhavebecomeindolentorworse.Theirhealthy,grown-up,butstillsomehowschoolgirlishwives‘breathevirtue’–asFeydeausaid–‘andareforthwithoutofbreath’.Theyverymuchregretthatit’shardtotakealoverwithoutdeceivingyourhusband.Andthehusbandsstillenvytheirbachelorfriends(forwhom,itappears,ladiesrapturouslypoisonthemselves)andstillcastawarybutinterestedeyetowardsthesleazyhotelstheypassontheirwayhomefromtheoffice.Feydeau’splays,likeallgreatdrama,startatthemomentwhenthesesmalllongingsbecomealarmingreality.

Forthen,ofcourse,theworldofcommonsensewhirlsanddipslikeadrunkard’sbedroom.Thefirstsmalldomesticmisunderstanding,thegentlestofwhitelies,bringsdownaseriesofdisastersasinevitableandappallingasaspeeded-upGreektragedy.Bythenthehusbandsandwivesandmistressesandlovershavebecomesoinextricablyconfusedthatit’shardtotellifyou’rebeingfaithfulornot,andthere’snotimetojumpintothevaguelylonged-forbedaseveryone’srunningfartoofast.

Throughallthis,thecharactersmustretaintheircommonsense,likeahatdesperatelyheldoninahighwind.Kicked,unexpectedlyembraced,shotat,takenformad,theycontinuetobehavequiterationally–conductwhichofcoursegreatlyincreasesthelunacyoftheentiresituation.

Feydeauwrotethirty-nineplays,apparentlyoutofextremeindolence.Whenhewasachildhisfatherfoundhimwritingandtoldhisgovernessthatheneeddonolessonsashe’dwrittenaplaythatmorning.FromthenonFeydeauwrotetoavoidsums.Hewassolazythatwhenafriendsaidtohim:‘Turnround.TheprettiestwomanI’veeverseenhasjustcomeintotheroom’,heanswered,withoutmoving:‘Describehertome.’HesatinacaféintheRueVivienneandmadewildandill-calculatedinvestmentsontheStockExchange.Thushehadthegreattraditionalstimulantstotheindustryofanartist:lazinessanddebt.Afrienddescribedhimaselegant,gentleandcharming,apoetwhoknew‘thewealthoffantasy,aswellasdisenchantment,thathoversinthesmokeringsofacigar’.It’shardnottoseeinFeydeauoneofhisowncharacters,sensibleanddetached,choosingaquietlife;butunceremoniouslybootedintoaworldoffreneticcreationthatbecame,atthedropofacoincidence,gloriouslyoutofcontrol.

ThisnotefirstappearedintheNationalTheatre’sprogrammeforA Flea in Her Earin1966.

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Introduction by Richard Eyre

At the time of this interview Tom had injured his arm and was unable to perform.

Did you know much about farce as a genre before you started to work on the play?No,excepteverybodysaidhowseriouslyyouhadtotakeit-I’dheardthatmanytimes,withoutrealisingquitewhatthatmeantphysically.Ialwaysthoughtthatitwasabouttakingthecharactersseriouslybutitalsoturnsoutthatyouhavetotakeitveryseriouslyfromanathleticpointofview.

Watching you run around on stage is quite something, you must be exhausted and much fitter than you were before you started.Iwasuntilthisaccident,yes.NowI’mconcernedthatmyfitnessisdroppingwhileI’mconvalescingsoit’sgoingtobeabitofashockwhenIhitthestageagain.

The two parts you play are physically very different. Did you go through any specific processes to accentuate these differences?Well,theybecamephysicallydifferentjustbythinkingofthemastwodifferentcharacters.SoI’mthinkingofoneasthemasabituptightwhiletheotheroneismorerelaxed,oneiseducatedandoneisnoteducated,oneisimpotent,theotherispriapic(relatingtomalesexuality&sexualactivity),oneisabitslovenlyandtheotherabitofa‘poseur’soIjustwentthroughoppositeslikethatandphysicallythathadanaturalconsequence.ChandebiseisabitanalanduptightwhilePocheismorerelaxedandadrunkardofcourse!There’sthewholesectioninAct3wherehe’sdrunksothatclearlyhasimplicationsforone’sphysicality.What’salsointeresting,beyondmakingthedifferencesclear,isthesimilarities.Sothemiracleisthattheyarealmostgeneticallythesame,nearlytwins,buthavegonedowntotallydifferentpathsbuttheninwhatrespectaretheysimilarphysically?Thefactthatthey’resimilarisalsopartofthepleasureofit.Oncetheaudiencebelievesthatthey’retwodifferentpeopletheythenenjoyhowsimilartheyactuallyaretoeachother.Ifonlytheykneweachother…theaudienceevenstarttothinkthattheymightmeetandyousortofwantFeydeautobeabletopullthatoff,hecan’tobviouslybuttheclosesthecangettoitishavingChandebiserushintothebedroomandcomeoutofitagainsaying‘I’vejustseenmyselflyingonmybed’andthatgetsaroaroflaughter.Attheendhesays‘Poche,Poche,nothingbutPoche!I’msorryheleftinsuchahurry,I’dliketohaveseenhimcloseto,mysecondself’andthatsortofreleasessomethingintheaudienceaswell-afeelingofreliefthatI’vesaidthat,thatlineisthereforthemreally.

As you have so many entrances and exits, have you had any moments where you’ve come on as the wrong character or not known where you’re meant to be?Notassuch.Thisisvery,veryfast.Inmostplaysyouhavetimetothinkaboutwhat’sgoingtohappennext,inthisyoudon’thavesomuchtimesogenerallyIfindwhenIcomeoffstageIsortofwalkoffintotheblackness,abitlikesteppingoffaledgeintoaninfinitespaceofnothingness.I’mmostlythinkingaboutwhat’sjusthappenedsoIoftendon’tknowwhatthenextentranceisandIhavetotryveryhardtokeepmyselfmovingasIknowI’mgoingtohavetocomeonagainandneedtopreparemyself.Nowwe’reusedtoitIknowwhat’sgoingtohappenbutittookmeages.Inrehearsal,previewsandthefirstproductionweekIregularlycameoffandjustblanked,Ihadnoideawhatwashappeningnextbutnowthedresserseffectivelypointmeintherightdirection!

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In Conversation with Tom Hollander

When you first saw the script did it worry you how quickly you would have to go from one character to the other?Itwasn’tthatclearonthepage,itwasonlyoncewestarteddoingitthatitbecameclearhowquickitwasandthenwhenyourunityourealisehowexhaustingitis.

The timing and the pace are so crucial to making the play funny, how did you work on that in rehearsal? Was it frustrating having to go over things hundreds of times to get them just right?

Tobehonest,it’sevolvingallthetimesowegotsomethingsrightandwedidn’tgetotherthingsrightandsomethingsareprobablybetternow.Rehearsalswerereallyaboutdefiningastyleandapace.

Iprobablytookuptwiceasmuchofthedirector’stimethananyoneelsebecauseIwasplayingtwopartsbutobviously,forthecentraldeviceoftheshowtowork;thosetwopartshadtobeclearlydelineated.

Feydeau’s farcical characters are well known for having a little more depth than other farcical characters. Have you found that to be true?Theyareterriblywellconceivedarchetypalcharacterssoit’sjustaquestionofidentifyingwhatsortofarchetypehe’sallowingyoutoplayandplayingitinyourownway.Thosecharactersareprettyefficientlydrawn,there’sclearlynopoetrythereandthere’snotmuchreflectivestuffbut,thatsaid,therearemoments.Feraillongetstobewistfulabouthismilitarypast,EtienneandAntoinette’srelationshipisquitedeeplydefinedasamarriedcouple.JohnMarquez’sperformanceisbrilliantandhisHomenidesisacompletelyroundedcharacter,youknowwhoheis.There’sprideandvulnerabilitythere.It’snotjusttwodimensionalfarce.Iftheywereinadifferentplay,onanormaldayintheirlives,notonewheretheyallwentmadandgotafleaintheirear,theycouldprobablyendupinaChekovplay-iftheyweresloweddownandmadetobeabitmorereflective!It’sthesamesortofperiod.

I read somewhere that you were in a play with Nick Clegg at university, have you any plans to collaborate with him on further acting projects in the future?No!Heis,however,comingtoseetheshow!

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It’s not been a bad year for you considering you only just graduated; you’ve done lots of exciting things already. Was it at all intimidating for you when you started rehearsals?IknewthatRichardhadwantedtodotheplayforyearsandyearsandhaditinthepipelinesoIhadalwaysthoughtthatitwouldbewonderfultobepartofbutI’dneverdreameditwouldbemyfirsttheatrejob,IthoughtitmightbesomethingIcoulddofurtherdowntheline.SowhenIgotitIthought‘Woah!’Ireadthescriptandjustthought‘thisissofunny’.Myagentdescribeditas‘goldplatedtheatre’–TomHollander,RichardEyre,JohnMortimer.JohnwasmygodfatheranddidthebestevertranslationplusIgettoplayaguywithacleftpalate!

It’s quite challenging though for a first big role, it’s not the easy option!Itwasabitdaunting.IthoughthowamIgoingtomakethisfunny?IalsoknewthatEdwardHardwicke,whenhediditin1966,hadbeenhystericallyfunnyandIheardthathe’dbeenofferedabouttwoTVseriesandacomedyshowoffthebackofitsoitwasabitintimidatingbutthenwhenyou’vegotRichardtherebeingsocalmanddirectingyouallthatgoesoutofthewindow.

I suppose he’s helped and you’re helped by Feydeau’s stage directions? They’re all so carefully crafted that a director has to listen to them really doesn’t he? YesIthinkso.ImeanFeydeauhaswrittenitlikeamathematicalpuzzle,likeacalculuspaperandtheformulashavetobeobeyedorthecomedydoesn’twork.

In rehearsal did you have to go over things again and again to perfect the timing? It must have become slightly laborious?Wellyesbutthenyoucangooverthingsagainandagaininrehearsalsbutwhenyougetonstagethingschange.InthesecondshowwedidIwhackedTom(Hollander)withadoor,bloodspurtedalloverthestage!Itwasacombinationofmeopeningthedoorveryquicklyandthefactthatwehadn’trehearsedanewmoveandassoonasyoudon’trehearsesomethinginaplayofthispacethingsgowrong,sothatattentiontodetailisnecessary.

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In Conversation with Freddie Fox

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DESIGN FOR LIVING – TEACHING RESOuRCES

Where did you start with the speech impediment caused by the cleft palate? Did you go and listen to people speak who had cleft palates? Did you have a vocal coach?Itstartedwithmespeakingtoafewpeople,oneofwhomwasateacherofmineatGuildhall.HehadplayedCamillehimselfalongtimeagosoIaskedhimifhecouldrememberhowthecleftpalateaffectedhisspeech.Hisinterpretationwasn’tonethatIthoughtwasverymedicallyaccurate.Youcouldgetawaywithoverblownmistruthsbackwhenhediditbutnowadaysitwouldhavetobealotmorepoliticallyandfactuallycorrect.

I...phonedadoctorcontactofminewhoputmeintouchwithawonderfulwomanatGreatOrmondStreetHospitalcalledDebbieSell.Shespecialisesincleftpalatesurgery.IsaidthatIdidn’twanttobetakingthemickeyoutofCamille,he’sjustaguywithaspeechimpedimentandwhilethatmakesitveryfunnyinthecontextoftheplay,hewouldn’tfinditfunny;it’sjustthewayhespeaks.Theyshowedmesomeamazingmaterialofyoungpeoplegoingthroughspeechtherapybeforeanoperationontheircleftpalate.Sothat’showIstarted,IlistenedtoalotofkidsinthatsituationandthenIjustpractisedandpractised.

What is so remarkable is that you still make yourself understandable.Therearemomentswhenothercharactersrepeatmylinessoobviouslytheaudiencepickthoseupbutthenyoudostillhavetobeintelligible;peoplehavetounderstandwhyyou’renotbeingunderstood.SoIstarttheshowmakingtheimpedimentmorerealisticandprofoundandthenoncethatimpressioniscreatedIeaseitslightlytomakeitabitmoreunderstandable.

Camille leads a bit of a double existence, how did you deal with the two sides of his character?IwasreallyconfusedwhenIgotthescriptatfirst.Iwasthinking‘howisthisguyvirginalyetnaughty?’‘Whatishemeanttobemoreof?’Ithenmadethedecisionthathewasverysexual,almostmoresexuallychargedthananyoneelseintheplaybutthathehastohideitawayfromeveryone,introducesanewdimensiontohischaracter.

It must be quite poignant for you that John Mortimer was your godfather and now you’re doing this play, he presumably would have been very proud of you.Yes,Ifeelliketheremustbeabitoffateinvolvedthere.Ithinkperhapsit’smeanttobe.

You speak Spanish in the play and your name is Marquez, are you Spanish?No,wellmydadisSpanishbutIdon’tactuallyspeakSpanish.MymumwasEnglishsoallfiveofuskidsjustspokeEnglishbutweobviouslyheardSpanishalotsothat’swhyIcandotheaccent.WhenIfoundoutIhadthispartIalsowantedtoportraythehighrangethatmyDaduseswhenhespeaks,evenwhenhespeaksEnglish,unfortunatelyitsoundsveryfunnyinEnglishandweallusedtolaughathimwhenwewerekids!SoIgotthehumourfromtherereally.

So because your dad is Spanish, did he have any influence on how you portrayed Homenides?Yeah,massively.Notnecessarilyphysicallybutvocally.AlsothewholethingofgettingextremelyemotionalanddramaticovertinythingsI’vetakenfrommydadbecausehewouldgetveryupsetveryeasily.

Physically, your interpretation occasionally made me think of Tango and Flamenco; have you had any dance training, did you use dance as an influence?No,notreally.ImeanIhadabitofdancetrainingatDramaCollegebutI’vealwaysbeenquitephysicalandabletomovewell.I’vemessedaroundwithFlamencoinacomedywaybefore.Theheelsandthecostumeforthispartgiveyouthatattitudeanyway.Homenidesisanaristocrattoowhichhelpstogivehimthatconfidentposture.

Did you find the detailed stage directions a hindrance at any stage? They are very specific; did you ever feel trapped by them?AttimesImighthavethoughtthatIwantedtotrysomethingfromadifferentpositionbutthenRichardEyrewasalwaysverygood.I’deithersaysomethingorI’djusttryitandifhedidn’tsayanythingagainstitthenI’djustkeepdoingit.

What’s it like working with him?It’sbeenfantastic.Tobehonest,I’dnevermethimbeforeandIwasveryscaredjustofthenamebutit’skindoflikebeingdirectedbyyourfavouriteuncle.He’sareallylovelyman,hegivesyoualotofconfidencetodevelopwhatyouwanttodevelopbuthewilldirectyouwhenheneedsto.He’sverygentlebutvery,veryastute.

Is this also your first time at The Old Vic?Itis,yesandIloveit.

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In Conversation with John Marquez

ASSISTANT DIRECTOR PSYCHE STOTT DIPS INTO HER REHEARSAL DIARY TO REVEAL SOME OF THE SuRPRISES THAT ARISE WHEN A COMPANY TACkLES FEYDEAu.

OurAssistantStageManagerOlirushesforabucket.JentheDeputyStageManagergrabssometissues.RichardEyre,meanwhile,continuestodiscusswithOliverCotton,whoplaysDrFinache,thedetailsofhisstateofundress.‘Shoesonoroff?’asheispulleddownthestairsbythemaidEugénietoattendtoOlympe,acharacterexperiencingthe‘screamingtifftaffs’.Duringthisaction,therehearsalphotographertakestheopportunitytostepinforsomeclose-ups.Thewetfloorisapotentialhazardbecauseoneofthepuddlesisformingonthespotwheretheactorsenterthescene.

Thischancemomentinrehearsalsmirrorsexactly,foracoupleofminutes,thetempooftheplay;manythingshappeningtomanypeopleallatoncewiththeunderlyingpotentialofamini-disasterconnectingeveryone.InFeydeau’splay,everysingleelementhasbeenconsideredandcrafted,nothingislefttochance;itismasterfullystructured.

Followingthefirstreadthroughatthebeginningoftheweek,Richardexplainstothecompanythatthiswillbeadifficultplaytorehearsebecauseitgoesatsuchapace.Butbeforewecandothisinearnest,wehavetoslowitdownandworkouteachmoment.Aswestarttoexploretheactionandthethoughtsbehindeachline,reaction-by-reaction,wediscoverhe’sright!

Plottingtheprecisetimingoftheactionstartstomakesomemomentsfeeluntruthfulfortheactorssowereadthescenewithoutthemovementtoremindthemofthetempotheyareaimingfor.Somereactionsonlymakesensewhenthesceneisplayedatspeed.Thesceneisthenrunagainandtheproblemsdisappear.

Richardobserves:‘It’sapainfulparadoxthatithappensquicklybutyouhavetorehearseitslowlytobeginwith.It’snotunlikethemusicalscoreofagreatcomposer.Everypause,inflectionandthetempoisintricate.’

Thecastexploresaparticularmoment:‘IsourreactionaresultofwhatFeraillonisdoingtoChandebiseoraresultofwhatheissaying?Arewedisgusted?’Richard:‘No,horrified.’

Wetrythismomentagainandthemusicalityofthetextistransformedfromadescendingseriesof‘Ahs’toascending‘Ahs’,asifgoingupamusicalscale,increasingtheintensityalongtheway.Bydoingso,itinstantlybecomesmoretruthfulandfunnier.

Afewdayslater,weareinthemiddleofrehearsingascenewhereChandebise(playedbyTomHollander)receivesananonymousloveletter…tothegreatdisbeliefofDrFinacheandTournel(playedbyJonathanCake).

Tournel:You!Finache:You,Chandebise!Chandebise:Me!Chandebise!Shecouldn’ttakehereyesoffme…Tournel:(takingtheletterandmovingRC)‘Youwereinaboxwithyourwifeandanotherman…’Chandebise:‘Anotherman.’That’syou,Tournel.(Takingtheletter)‘Anotherman’‘X’.

Theaudienceatthispointareonestepaheadofthecharacters.Theyhavewitnessedthewritingoftheletterinanearlierscene,sotheyknowwhoitisfrom,whatitsays,andthatitisdrenchedinperfume.Weareworkingfrompage19ofthescriptanddiscoverthefollowingonthenextpage:

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It’s Raining in Rehearsals

Tournel:Oh,mydearfellows…ChandebiseandFinache(together):What?Tournel:Whatdoesshemixhertearswithtomakethemsmellsooverpowering?

ActorJonathanCakeaskswhyhe,asTournel,hasn’tsmelttheperfumebefore?It’sagoodquestionandwepausetofindananswer.ThestagedirectionsclearlysayTourneltakestheletterfromChandebise,sowhydoesn’thesmellit?

WetryacoupleofversionsofthesceneexploringwhathappensifTourneldoesn’ttaketheletterbutlooksatitovertheshoulderofChandebise.Thisdoesn’treallywork.

Istheletteramagnetforattention?

Wetryoncemore,thistimewithallthreecharactersreactingasifgobsmackedbytheletter.RichardthensuggeststhatperhapsTournelandFinachedon’tactuallytakeittooseriouslyuntilthementionof‘TheHotelCoqd’Or’,anestablishmenttheyarebothfamiliarwith.ThismakessenseoftheirrelationshipwithChandebiseandofthestagedirectionwhereTourneltakestheletter.ButwearestillconfusedastowhyTourneldoesn’tsmelltheperfumestraightaway.

RichardlookstoFeydeau’soriginaltextforclues.WediscoverFeydeauhasinfactwrittenastagedirectionexplainingthatTournelleansonthetableandChandebisewaftstheletterunderhisnoseatthisverymoment.Etvoilà!

ThisisnotthefirsttimeFeydeauhashelpedusmakesenseoftheaction.

Tofollowornottofollow…thestagedirections.

InActIIITomHollander,whoplaysthecharactersofChandebiseandPoche,hasonlythreelines(25secondsatthelastcount)toexitdownstageleftasPoche,changecostumeandre-appearupstagecentreasChandebise.Howisthishumanlypossible?

Whatifthetrousersareneutralanditisjustthetopthatischanged?

Richard:‘Itneedstobeacompletechangeofcostumeforittobeconvincing.’

Theredon’tseemtobeanyindicationsinthestagedirectionsofJohnMortimer’stranslation,soRichardrefersbacktoFeydeau’sFrenchtextagain.Hediscoversadetailedandinfinitebreakdownofexactlyhowthiscanbeachieved,rightdowntowherethedressershouldbewaiting.It’squitebrilliantbutIshan’tspoilthesurprise.

Richardexplainsthatwhentypicallyrehearsingaplay,itisn’tnecessarytopaysuchgreatattentiontostagedirections–afterall,Mortimer’sareveryclosetoFeydeau’smostofthetime.Butonthisoccasion,Feydeau’sareliketheHolyGrail.

We’refindingoutthatitisimpossibletolearnthedialogueofthispieceuntilyouhavemappedouttheaction.Everythingisassociatedwithaphysicalactionorreaction.Richardpointsoutthatitisnotdissimilartolearningchoreography;everymovementfitstothemusic.Inourcasethemusicisthetext,punctuatedbydoorsslammingandpausesthatbecomelikeabarsrest.

‘Ah!’Doorslams.‘What!...’orisit,‘Ah!’‘What!’Doorslams?

Thetimingoftheopeningandclosingofthedoorsiscrucial.Richardcomparesitto‘percussionwithasymbolcrashatthewrongtime.’

Thetextimpliesthedoorslamcomesafterthe‘Ah!’–sowehaveago….

All:Ah!SLAMSLAMSLAMSLAMAll:What!

Thewholeroomburstsintolaughter…andFeydeau’sgeniussurprisesusoncemore.

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Flea in Her Ear Program

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