Issue 9

Page 1

The

SpringHillian April 16, 2015

Volume 100 Issue 9

Ad Majorem Dei Gloriam

The Madwoman of Chaillot, a Play by Jean Giraudoux

By: Julia Arenstam Editor-in-Chief

The Department of Fine and Performing Arts is presenting this semester’s play, The Madwoman of Chaillot, tonight through Sunday in the Arlene Mitchell Theater at 7:30 p.m. Admission is $10 to the public, and $5 for students. Originally written in French by playwright Jean Giradoux under the title, La Folle de Chaillot, it is a comedic and poetic play about an eccentric Parisian woman who struggles with reality. One of many artists who stayed in Paris during World War II, Giraudoux wrote the play in 1942 during the Nazi occupation. The opening of the play shows a group of corrupt business leaders who are planning to unearth the city of Paris to recover oil they believe lies under the streets. Stephen Campbell, S.J., Chair of the Department of Fine and Performing Arts, described the play as un-

usual, relating it to a three -ring circus. “It calls out for a world where people can flourish in peace, where creativity is not stifled, and nature is protected from destruction. And a ‘crazy’ lady is calling all the shots. It’s some pretty important stuff that is still relevant today,” said Campbell. The main character, Countess Aurelia, is played by sophomore Laura Fosberg. The Countess is an idealist who discovers the business men’s unethical plan. She appears to be lacking in her mind, but is later shown to be the essence of goodness and common sense. Countess Aurelia believes that the world is turning into an unhappy place by greedy thieves who seek money and power. “She is a strong woman who sees the beauty in everything. She has a vision of how she thinks the world should be and strives to make it reality. I feel blessed to be casted in this role,” said Fosberg. Her friend the Ragpicker,

Photos by: Phillip Travis played by Kyle Halstead, helps her realize how the world could be affected by these men seeking wealth and power. “They run everything, they corrupt everything,” says the Ragpicker. One of the greedy businessmen argues his goal, saying, “What would you rather have in your backyard: an almond tree or an oil well?” In a scene between the Countess Aurelia and her advisor the Ragpicker, he tells the Countess, “People are not the same, Countess. People are different. No one is involved with anyone anymore. There - there’s been an invasion, an infiltration. The world isn’t beautiful

any longer. The world is not happy.” Countess Aurelia replies, “Is this true? The world is not beautiful? The world is not happy? Why wasn’t I told?” The Ragpicker responds, “Because you’ve been dreaming a long time, Countess. And no-nobody wanted to disturb you.” Aurelia decides that it is her duty to fight against these men and rescue her city from these corrupt developers. She is aided by fellow societal outcasts: the Street Singer (Sydnie Thibodeaux), The Ragpicker (Halstead), The Sewer Man (Jeremy Buckner), among others. “I also love the chaos of the show. So much is happen-

ing in almost every scene. It keeps the show exciting and humorous,” said Fosberg. The play details her plans made with her three fellow “mad” Parisian women who each have private fantasies of their own: Constance (Angeline Morris) has her canine companion Dickie, Gabrielle (Karrie Quirin) talks to inanimate objects, and Joséphine (Jen Bonsutto) who places pimps on trial. Countess Aurelia brings together what she calls the “despoilers of the earth and wreckers of it’s happiness,” and tries them for their crimes against humanity. Campbell stated the play holds a hidden meaning, outside of the Nazi occupation. Giraudoux believed the pimps, and those like them, were destroying France through their insistence on efficiency, sterility, neatness, and wealth. All at the cost of individuality, artistry, history, and culture. Also making an appearance are Marcus Swentofske, Shalonda Bell-Fossett, Seth Polansky, Matthew Sens, Antonio Brito, Kristin Morrell, Sean Finn, Meg Welsh, Eric Thomas, Bonnie LeNoir, and Marina Brooks.


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