The Madwoman of Chaillot

Villanova’s production of The Madwoman of Chaillot is not only a 70^th birthday celebration for the group but also a celebration of their return home to their old, but now refurbished theatre after spending the last four years at Yeronga. That their audience were happy to be home was indicated by the almost full house.

Throughout their history Villanova have premiered an inordinate number of original works, therefore it’s entirely appropriate that this, their 303^rd major production should be something fresh - a newly translated and adapted version of Jean Giraudoux’s 1944 poetic satire. Written before the end of World War II, at a time when Paris was still occupied, the The Madwoman of Challot was one of the first plays to explore environmental issues. A group of money-hungry capitalists are happy to destroy Paris in their search for oil until the Madwoman devises a devious plan to stop them forever.

Despite being a bit wordy, Maria Plumb and Rod Thompson’s adaptation is amusing and at times very funny. With its large cast of characters (many in the older age bracket) it’s an ideal vehicle for community theatre and Thompson has judiciously cast it with many Villanova stalwarts.

Glynne Liddy’s Madwoman, Countess Aurielle, was masterful in her manipulation to achieve her aims and a strong protagonist. Pat Wocknor’s Gabrielle was awash with whimsy, Mary Woodall’s Josephine was delightfully away with the pixies Judge, but it was Maria Plumb’s Constance who wryly captured the laughs with her invisible pooch Dickie. Together their act-two tea party was a riot of madness.

Paul Liddy wore the “black hat” well as the ruthless investor President, with good support from Brian Cannon as the Baron and Desley Nichols as the Banker. Carol Hegarty’s singing flower-seller, Danny Kennedy’s Ragpicker, Daniel Buckey’s Gendarme, Crystal Williams coffee waitress Irma, and Ken Hegarty’s deaf-mute Marcel, also had their fleeting moments of sunshine in this large ensemble cast.

Thompson, doing double duty as director and set designer captured the eccentric milieu of the play well (helped by strains of familiar accordion music) whilst the motley haute courtier of the costumes were strikingly accurate, especially Plumb’s long flaming-red flapper dress with feather fascinator. It was a show-piece.

Peter Pinne