By Claire DeMarco
Raymonde Chandebise (Apryl Peroney) and her husband Victor Emmanuel Chandebise (Todd Foose) live a comfortable life in 1907 Paris. Married for some time, Raymonde believes Victor is no longer interested in her romantically and most likely is having an affair.
Positive that Victor is unfaithful, Raymonde coerces her best friend Lucienne Bonhangelle de Boulogne (Rebecca Radeshak) to help her prove Victor’s transgression. With Raymonde’s prodding, Lucienne writes a letter to Victor pretending to be a woman attracted to him and entices him to a meeting at the infamous The Golden Cockerel Hotel.
As Raymonde’s husband seems to have no romantic interest in her, Lucienne’s husband, Baron Christophe Bonhangelle de Boulogne (Christopher Bartko) has more interest in Lucienne that she can handle. She’s tired!
When Victor receives the letter, he is convinced that it’s not meant for him, but for his friend, Phillipe Tournel (Travis Miller), a well-known lady’s man.
Victor’s nephew Camille Chandebise (Ayden Freed) is anxious for his first love conquest, but his speech impediment is a hinderance.
Dr. Francoise Finache (Bruce Travers) is both Camille’s and Victor’s doctor, developing a way for Camille to overcome his speech impediment and seeking a reason for Victor’s health changes.
All our principal characters end up at The Golden Cockerel Hotel whose hotel manager (sorry, madame), Olympe Ferraillon (Tamara Marlise Manzetti) attempts to make sense and control a bevy of agitated people.
Now the plethora of plots begin to unwind in a farce that involves a balance of physical and verbal comedy filled with mistaken identities, innuendoes, exaggerated action (with a slant towards slapstick).
Foose is excellent as Victor and Poche. Both characters are unique and Foose brings a realism to both. His characterization of Victor as an upright and rather serious man of means is highlighted by his carriage and demeanor. As Poche, a working-class hotel worker, reflects years of hard work through his slouched posture. Through great physical and facial movements, he can give both characters a unique personality of their own.
Peroney epitomizes what the use of facial and physical movements encompasses in a performance. Asides and quick turns of her head deliver comic reaction with no words spoken. She uses her hands cleverly, flopping them in front of her as if she is shaking off water after washing them. This mechanism appears to be a way for her to settle down and gather her thoughts before her next challenge.
Miller is believable as Victor’s oversexed, not quite so bright friend. You can almost see the steam coming from his face as he talks about possible conquests.
Manzetti as the madam of The Golden Cockerel Hotel appears more respectable than her “guests” as she attempts to corral them into some semblance of order. She cleverly changes her demeanor from reserved to exasperated as the situation changes.
Freed is engaging as the innocent young man. His delivery with a speech impediment is flawless and he easily transitions to a clear speaking man when a remedy is discovered for his problem.
Delightful, funny performance by Zhen Yu Ding as Herr Verructmann, German-speaking hotel resident looking for some “action”.
“A Flea in Her Ear” is the first play in Pittsburgh Savoyards 87th season and they’re off to a great start!
“A Flea in Her Ear” was written by Georges Feydeau.
Kudos to Scene Designer Robert Hockenberry for creating an intricate, complicated set that works in a small theater space.
Excellent direction by Robert Hockenberry who also translated and adapted this play.
Note: Depending on the performance date, many of the actors’ roles are performed by other members of the cast.
-CED
“A Flea in Her Ear” is a production of The Pittsburgh Savoyards. Performances run from July 12th to July 27th at the Margaret Partee Performing Arts Center in Bellevue. For more information, click here.
