Kris Weber's World of Theatre

A Flea in her Ear by Georges Feydeau
Translated by John Mortimer
Presented by Heidelberg Theatre Company
Directed by Trevor Bickerstaff
Reviewed (Nov. 13 1998) by K.E. Weber

Cast: Cameron Wenn, Jacquie Molloy, Peter Newling, Bruce Akers, Anne Pagram, Sallyann Wilson, Barry Lockett, Paul Freeman, Chris McLean, Elonna Marcon, Laurie Jezard, Maureen McInerney, Trevor McAllister, Paul Farrell.

The action of this play involves a complex series of mistaken identities, clandestine assignations, misplaced but explosive jealousies, slamming doors, revolving beds, wildly amiss gun shots and a pair of braces!

Things go awry when Victor Emmanuel Chandebise becomes impotent, leading his wife, Raymonde, to assume that he has taken a mistress. To test his fidelity she has her friend, Lucienne Homenides de Histangua write an anonymous letter to Victor, claiming to be infatuated with him and proposing a rendezvous at the notorious Hotel Coq d'Or. Thinking a mistake has been made, Victor persuades his friend, and renowned womanizer, Romain Tournel to keep the appointment for him, after which the complications begin to multiply particularly when Camille, Victor's nephew who suffers from an unfortunate (but hilarious) speech defect, and Carlos Homenides de Histangua, a hot-blooded Spaniard and violently jealous husband, become involved in the action.

As a proponent of all things dramatic, I dislike the farce on principle. They are, on the surface, coarse pretenders based on ludicrously improbable events and filled with absurdly futile proceedings, (below the surface often making strong social and political commentary, granted) the precise reasons for their mass appeal, it would seem. So why then, given my stated propensity, did I find this one so thoroughly delightful? Because first-rate productions beat genre every time - Simple!

To begin, the set was expansive and open and ingeniously created to house the requirements of both the Chandebise's drawing-room and The Hotel Coq d'Or (complete with revolving bed) of Act 11. The motif of swirls adorning walls and doors was both extravagant and frivolous, and completely apt. Costumes, too, were appropriately splendid and thoroughly befitting to time and class. Lighting plot was simple but well maintained and audio was, again, completely appropriate.

Talented actors were very obviously lead by a talented director who presented us with a tight, flawless and brilliantly polished production. Movement that is clean and precisely executed is vital for the success of this style of play. Trevor Bickerstaff obviously understood this as actors played to the front, delivered asides, fell over and generally ran amuck within a framework of seamless choreography. Dialogue, too, was brisk and snappy and cues were pounced upon with relish. Energy was high with each actor committed toward making the antic and pell-mell humour work.

The first thing a good director does is to cast wisely, (or is that a wise director?) and this play was wisely cast. Cameron Wenn displayed a myriad of talents and was marvellous as Camille Chandebise - timing was impeccable and work involving the character's speech defect was well crafted. Bruce Akers was great as the very naughty Dr. Finache. I loved his charming aplomb, laid-back quality and dry wit particularly. Anne Pagram as Lucienne and Sallyann Wilson as Raymonde were simply delightful. They never faltered and complemented one another beautifully. Barry Lockett was outstanding in his dual roles as Victor (he of the haughty swagger) and the Hall Porter, Poche (whose John Cleeseisms were wonderfully apt - yes, I saw the funny walks!). Paul Freeman reveled in his role as the womanizing Romain Tournel and Chris McLean was well-accented and ebullient as Lucienne's jealous Spanish husband, Carlos.

Strong support was given by Peter Newling (Etienne Plucheux) and Jacquie Molloy (Antoinette Plucheux) along with Elonna Marcon (Eugenie), Maureen McInerney (Olympe) and Trevor McAllister (Baptistin). Laurie Jezard was well-suited as the somewhat rumbustious owner of The Hotel Coq d'Or and never missed a beat and Paul Farrell as Her Schwarz, the furious and frustrated Prussian, simply brought the house down with each entrance.

As I said earlier, first-rate productions just can't be beat!