Posts Tagged ‘Les Fausses Confidences’

Marivaux and Berlioz

February 19, 2019

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Rehearsals are in full swing for A Soldier’s Song and now, thanks to the wonderful Nick Kobyluch, we also have our artwork!

After a weekend of Berlioz on Radio 3 it’s also now time to reveal that ASoSo (as it’s become to cast and crew) is itself inspired in part by Hector Berlioz. On reading the original Marivaux it rapidly became apparent to me that the male lead’s romantic obsession with Araminte had a powerful resonance with the real life obsession that Berlioz had with the actress Harriet Smithson.

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Harriet Smithson – Shakespearean actress and Berlozian muse

It’s the 150th anniversary of Berlioz’s death this year and so there’s a lot of French romanticism in the air. I only hope that I’ve done the crazy old romantic justice and mashed up his life with Marivaux’s plot and my own sprinkling of English Romanticism to make something rather special.

Do come along to the Moravian Hall at the end of the month to find out! Tickets will be on sale from 25th February 2019.

#Berlioz150 #theatre #London

A Soldier’s Song, an original play by Geoff Levett adapted from Marivaux’s Les Fausses Confidences will run at the Moravian Hall from Wednesday 27th to Saturday 30th March 2019.

 

Cast is Announced!

December 28, 2018

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Having only produced small scale festival productions in my brief theatre career I’ve generally been a beggar rather than a choose when it comes to casting. But now that we’re doing a main show I get to play with nearly all of the toys in the Crouch End Players toybox and together with the director, Victoria, had to run auditions.

Fortunately Victoria is an old hand at this shit because frankly I didn’t have a bloody clue and Ayckbourne’s advice in his excellent book The Crafty Art of Playmaking advises producers to let the writer nowhere near the audition process. Alas I’m both producer and writer on this project so couldn’t duck the responsibility.

However, with Victoria at the helm and a couple of Players Legends on the team we were able to put the wannabe Comédien(ne)s through their paces. For those who didn’t make it to the final nine I have only craven apologies at having not been able to find room for everyone.

And what a final nine they are! Here is our final selection, they make a fine company …

A Soldier’s Song Cast

(In order of appearance)

Hector – James Allnutt

Clarke – Marion Dancoing

Hobbs – Jamin O’Donovan

Uncle Charles – Dave Mahon

Rose – Alex Seeetnam

Harriet – Hannah Shaw

Mrs Dubois – Rebecca Cutts

Lord Chilton – Matt Griffin

Sam – Vicky Murdoch

The show will run from Wednesday 27th March 2019 to Saturday 30th 2019 with four evening performances and a Saturday matinée at the Moravian Hall, Priory Rd, Hornsey, London N8 7HR.

#theatre #London

 

 

A New Year, A New Play

December 9, 2018

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Having two relatively succesful (Corbyn Island and A Door Should Be Open or Shut) Festival productions under my belt emboldened me to propose to the Crouch End Players committee that we should put on a version of a full length French classic. Seeing a production of Marivaux’s Le Jeu de l’Amour et du Hasard at the Théâtre Saint Martin earlier this year inspired me to tackle another of his plays.

Le Jeu de l’Amour at the Porte Martin, played in a style that Marivaux would have recognised, was outstanding. I had no intention of competing with the French on their own turf. No, I felt that I had to find a way of presenting his work that made it resonate with a contemporary London audience but wasn’t as directly political (or sweary, we’re looking for a larger audience after all) as our update of L’Ile des Esclaves.

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At first glance Les Fausses Confidences – in which a penniless young man who has fallen in love with a rich widow attempts to scheme his way into her heart – can seem a distinctly queasy proposition in these #MeToo (or #balancetonporc) times. To be blunt the way in which the leading man and his ex-valet scheme to serve his master’s interests, if entertaining, is nevertheless difficult to approve of. ‘His rampant mendancity has little jusitification.’ * For some critics, no matter how much they admired Marivaux as a writer such dubious morals ‘gâte toute la pièce’ or ruin the whole play. **

How to get around such a flawed leading man? By updating the action to 1919 and making him a serviceman recently returned from the Great War – our version is called A Soldier’s Song – I hope to have given a psychological motivation for such iniquitous behaviour. Hector (renamed from Dorante in the original) has developed an obsession for Harriet (Araminte, now a wealthy widow and music hall performer) for reasons that are hinted at though never over-explained during the course of the plot, thus elevating him from the rather amoral schemer of the eighteenth century original. Music buffs may also see the resonance in French culture of having a Hector obessed with a Harriet.

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Hector Berlioz – not a stranger to romantic obsession

And to my delight when I discussed the play with the director Victoria Welsh she took on this idea further, situating the play in a much more radical staging than I had envisaged that will reference the original Marivaux production by the Comédie-Italienne that will allow us to see Hector as just as much manipulated as manipulator. But more of that as I trace the development of the production over the forthcoming months.

We are in the process of auditions at the moment and my next blog post will be to give my own take on that process, which was entirely new to me. (Casts for previous shows, excellent though they proved to be, were assembled from the resources available rather than via the luxury of selection). The show will be happening in the last week of March 2019 at the Moravian Church Hall on Park Road, N8. If you’ve read this far please do come along and say hello. Or if you have staged or watched Marivaux yourself I’d really welcome comments and questions on your own experience of Les Fausses Confidences.

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My research into other adaptations, purely to see what had been done recently on the British stage, led me to a version that foreshadows a piece that the Crouch End Players will also produce later in the year. In 1983 Timberlake Wertenbaker translated the play pretty much straight for a production at the Lyric, Hammersmith, giving it the title False Admissions. In the autumn the CEPs will stage Our Country’s Good, her account of Thomas Kennealy’s novel The Playmaker, which concerns a group of officers and convicts putting on a play in colonial Australia. Which goes to show that the Players have a wonderfully diverse repertoire to offer the public in 2018.

* Kenneth McKee, The Theater of Marivaux (Peter Own: London, 1958), p. 211.

** Edouard Thierry, La Revue de France, March15th, 1881.


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