flea in her ear program
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Flea in Her Ear ProgramTRANSCRIPT
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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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A FLEA IN HER EAR – TEACHING RESOuRCES
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 – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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 – TEACHING RESOuRCES
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 EAR – TEACHING RESOuRCES
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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 – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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 – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES
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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A FLEA IN HER EAR – TEACHING RESOuRCES