By Steve Odenthal
It was my pleasure to attend Marie Antoinette by David Adjmi at the new location of Good Company Theatre and see a masterful script performed to near perfection. I must warn you at this point that the script is an adult-themed historical account of the reign and final days of the French Queen. It contains frank, honest language and action that you might not be ready or willing to witness, especially if after hearing salty and debasing language you want to excuse the offender’s “French.” It is not a story for children and many adults. You have been warned.
If you are not familiar with Good Company Theatre, you are missing out. Now, in their new and larger venue at 2402 Wall Ave in Ogden Utah, the owners (Alicia Washington and Camille Washington) are hitting their stride. The sisters have operated this theatre in downtown Ogden since 2012 and have had more than a little success with previous productions specifically chosen and placed on an intimate stage. Most of Good Company Theatre’s shows will involve seating for 50 to 75 dependent upon the presentation choices of the production. Perhaps the exception to that rule came earlier in this season when the two theatrical entrepreneurs staged the Lin-Manuel Miranda musical In the Heights at the Ogden Amphitheater to appreciative and large crowds. The Washington’s have proven that Ogden is ready for a venue of thought-provoking material portrayed by actors of maturity beyond the University campus. Both audience and cast knew there were deep messages in this show and while no one there was caught completely unaware, no one, I suspect, was totally prepared for the intricacies of Marie Antoinette. David Adjmi, the Playwright, has done a marvelous job of visualizing the Queen’s descent into madness from the station she was bred for and “built” to. This is not a kind handling of the social elite of the time, but rather, a look back at what we thought we knew of Marie’s plight and chicanery as viewed by a modern eye tainted by our current “cult of celebrity.” It becomes frightening to consider how far we have come and yet how applicable this story is to today.
Director (Teresa Sanderson) has assembled a flawless cast that ensnares us and involves the audience member in all action on the theater’s intimate set. Sanderson takes this excellent ensemble and gives us so much to latch on to, whether it is the dead emotion of the always watching eyes of the public expressed hauntingly by the actors on every wall and surface, or in those same penetrating, yet wounded eyes delivering their own historic character to the audience. There are so many directorial choices on a minimalist stage that it becomes difficult to pick out just one or two. The fact that it was so minimalist a set and yet nothing was left out of my mind’s eye as the play engaged me is, itself, a huge compliment to the director. Every piece of the modular set is repurposed to perfection and ably managed by the cast under direction of Stage Manager (Lara Vo). As this production makes use of short scenes to help keep interest high, there are many adjustments required in the dark and each was completed purposefully and with military efficiency allowing the silhouetted cast to remain in character and stoic which keeps the performance intact.
Lighting Design (William Peterson) is handled effectively throughout the performance as a gentle emphasis on Marie’s struggle to understand the world which has spun out of her control. Her bouts with despair, depression, and perception are enhanced and, in turn, we are influenced in our understanding of her plight by the hue and shading we absorb. That can be difficult to accomplish in an intimate setting.
As mentioned earlier, there were no flaws in the casting of this show. Those who are cast in multiple roles exceed the mark in being different and believable in their assignments. Each drew me in and delivered their perspective. Each persuaded me that what had been ingrained in me as fact and truth may stand in need of adjustment had I, with my modern eye, been actually there to see the unfolding of a state and the creation of a nation.
Marie Antoinette (Lori Rees) is powerful in her portrayal of the Queen. She captures the frivolous, air-headed and foolish member of the elite that we all have embraced as Marie from the opening scene. Rees devours her cake and sweetmeats with gusto ignoring reality and the warning silence of friends to establish that she is to be entertained by life and nothing else. If there is no bread than the natural response is to eat cake. With elitist logic all is solvable, true, and as God intended. Her life is shielded by her companions and all at court but she still is haunted by the eyes that watch her in the performance that she must give as Queen. Rees is quite an accomplished actress and she moves us along a journey of despair that she was neither bred for nor deserving of. Such is the power of Rees’ performance that we go willingly with her exploring new understanding of the Queen’s circumstance.
My favorite characterization of the night was Louis XVI (Jese Nepivoda). We join the story at a time when Louis is troubled in life—his countrymen, those who still seem to love him are clamoring for an heir to the throne while those who would overthrow his reign and form a democracy are increasingly aware of his retreat into childlike mannerisms in troubling times. With Nepivoda, the eyes tell all. Anxious to do the right thing, the proper elitist and royal thing, we see him struggle with his own demons and ineptitude by fixing the small things of his life represented by clocks. He tinkers and plays like a small boy and still his solutions are wrong. It should be 8:00 and yet his clock says 4:00. His wife, Marie, is forced to address him sternly and raise him to a man, which is something that she never willingly signed up for. Whether starting a scene sprawled on the floor with his clockworks spread like modern Legos in a playroom, or on his feet but cowering behind a pillar in fright, we are never far from the flaws that Louis has. Nepivoda captures the prison where Louis lives his every hour, created by the fears (real and imagined) that trap the king as he awaits the inevitable.
Therese De Lamballe (Chantelle Bender) plays well as the chosen friend in Marie’s inner circle. She is that friend that knows the truth; what is out on the street. And yet, she is that friend who loves her own elitist position at court to such an extent that while she willfully shields the Queen from the harsh realities, she often can’t help herself from disclosing a discouraging and unwashed word or two. She stays loyal to Marie for as long as she can. Bender has a way with the audience and carries us off with her in the opening scene.
Polignac/Mrs. Sauce (Kristi Curtis) has a hot and cold transformation quite visible and effective for the audience to enjoy in the opening scene. Curtis’ character is the one of Marie’s friends who keeps Marie from dwelling on any bad news keeping the privileged lifestyle from getting lost in the news of the day. A smile on her face for Marie and a dagger in her look for De Lamballe is clearly presented as the public looks on through unblinking eyes; these three must carry on their last days of elitist merriment.
The roles of Joseph/Mr. Sauce/Guard (Aaron Michael Ross) are well handled and each believable in their own right. I truly enjoyed Ross’ quiet power and yet careful handling of the scene involving Louis’ delicate condition. The two actors play off each other well in handling a situation neither character wants to address but which Marie forces them into. An awkward situation which must occur and be remedied so that the duties of state can be attended to, is shown exactly in that way.
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Eyes are so very important in this production that I must make a comment on the characterization of Royalist/Revolutionary/Guard (Jake Trumbo), his eyelids are superb. That sounds strange, I know, but in these roles a certain degree of haughtiness, subservience, and distain are required. Those emotions need to be palpable for us to take in and believe as unique to the specific character. Trumbo, although of a size to impress us with his stature, makes huge inroads into each character through his effective attitude expressed facially. Also, in his time of unblinking observation behind the walls, his are the most immediately recognizable and haunting.
Axel Fersen (Allen Smith) fits the role of lover to Marie and loyalist traitor making us believe a black hearted knave who is loyal only to himself lies beneath the finely turned out dandy. We understand that he looks upon Louis as a buffoon and drag upon French society, all the while dismissing the trappings of court as mere accouterments of the moment enjoying them while they last. Smith carries himself with a thrust jaw and determined gaze that can adjust in an instant between good and evil. Again, here is an example of the eyes telling all.
One of the most enjoyable yet disturbing parts of this show is the Sheep (Paul Naylor) character who symbolically blends the love/hate relationship Marie has with the French. At times adoring, but other times bluntly cruel, this manifestation of the public perception and temperament toward their Queen feeds her madness. Naylor perfectly fits the role with his wide-eyed curiosity of Marie and manic desire to be petted by the royal object of his affection. He also comes across menacingly in the moment that all abandoned her to the guillotine.
In such an adult-themed show it is unusual to find an innocent. The Dauphin (Chance Trumbo), son of the King and his rightful heir was played convincingly by young Trumbo in a way that left no doubt that Louis was indeed his father. The audience was provided the show’s biggest laugh of the night when Trumbo barked at his mother, the Queen, and threw himself to the floor in obvious spite and tantrum, only to be unintentionally mimicked by an oblivious Louis. I was not the only one who whispered to a companion, “like father, like son.”
As this is a period piece, and a well done one at that, I have to consider the Wig and Makeup Design provided by Lindsea Garside as a character. Not a curl out of place and elegance when proper, disarray when the despondency crushes Marie. You will like the Wigs as well as the Costume Design by Kelsey Nichols who does not go for gaudiness but is effective in portraying the dress of the day for royalty and peasant alike.
I loved Marie Antoinette as it made me think and change my original perception of all that went on with the poor Queen before her beheading. It also gave me pause to consider what I thought I knew of the time and people. It especially made me look at the timeliness of this production and where we choose our leaders from. I believe that the Washington sisters have something here for you during this run.
Good Company Theatre Presents Marie Antoinette by David Adjmi
Good Company Theatre, 2402 Wall Avenue Ogden, Utah 84401
October 13-October 29 Friday-Saturday 8:00 PM, Sunday 4:00 PM
Tickets: $17.00
Contact: 801-917-4969
Good Company Theatre Facebook Page
Good Company Theatre’s Marie Antoinette Event Page
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