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Regional Reviews: Phoenix The Madwoman of Chaillot Also see Gil's review of Reykjavík
Set in Paris, the story follows the eccentric Countess Aurelia, known as the Madwoman of Chaillot, who discovers that a group of ruthless businessmen plan to destroy her beloved neighborhood in search of oil they believe is underneath Paris. Outraged by their soulless ambition and greed, Aurelia gathers a band of fellow eccentrics and idealists to put the men on trial in her own imaginative way. The play unfolds as a charming battle between innocence and corruption where kindness, imagination, and moral clarity stand up to cold profiteering and cynicism. In our current world where corporate greed and political bribes outweigh the needs of the people, the play seems incredibly timely. However, despite its many charms and relevance, The Madwoman of Chaillot is not without its challenges. It takes a while to fully find its footing, as it's not until almost halfway into the first act before the Madwoman herself appears and the plot is set in motion. While these early moments are meant to establish the world of Paris and introduce its colorful inhabitants, they can feel a bit meandering and slow the momentum, especially when the second act is where the play truly shines with its eccentric characters and situations. Additionally, the highly whimsical, allegorical style, with its heightened language and fanciful logic, may not resonate with everyone. While the piece isn't overly long, viewers who prefer tightly plotted realism or faster pacing may find the tone overly quaint or indulgent. Fortunately, the cast is up to the challenge of breathing life into the outlandish characters. As Countess Aurelia, Polly Chapman delivers a luminous and commanding performance that anchors the entire production. She brings a wonderful blend of whimsy, warmth, and quiet authority to the role, making Aurelia both delightfully eccentric and deeply wise. Chapman's stage presence and line delivery are playful yet purposeful, and she effortlessly guides the audience through the character's fanciful logic and moral certainty. It is a performance that captures the heart of the play and gives it an emotional weight and resonance. The supporting cast all play their eccentric or exaggerated characters with commitment. As the Ragpicker, who serves as the philosopher and realist in the group, Steven Mastroieni offers a performance grounded in wisdom and moral clarity. As Aurelia's three close friends and loyal companions, who are just as peculiar and "mad" as she is, and who are her key allies in the fight against the greedy financiers, Patti Suarez, Judy Lebeau, and Judith Eisenberg are excellent. Suarez offers a lovely performance as Constance, the gentle romantic woman who has an imaginary pet dog and will only open her door to a caller who knocks twice and meows three times. Judy Lebeau delivers a charming and innocent portrayal of Gabrielle, who hears voices in everyday objects like her sewing machine and hot water bottle, and Judith Eisenberg provides a worldly view as Josephine, who comes from a family of lawyers and who insists those accused of corporate greed must have a fair trial, even if it's a mock trial held during a tea party in Aurelia's home. The combination of Chapman, Mastroieni, Suarez, Lebeau, and Eisenberg's refined performances elevate the production and make the play's whimsical nature shine. Javier Santiago and Zhara Negrete charm as the romantic supporting couple, and Scott Sims, Andrew Driggers, and Roy Major lean into their roles with exaggerated confidence as the scheming businessmen. The rest of the large cast play the artists and dreamers who join Aurelia in her fight with sincerity and charm. The direction by Carol MacLeod, Judy Rollins, and Sue Back skillfully balances fantasy and clarity while allowing the play's poetic language and surreal, satirical elements to shine. The creative elements (set design by Mark Baris and Maia Landau, lighting and media by Stacey Walston, and projections by Maia Landau) make good use of the static setting to create a version of Paris with appropriate props, set pieces, and projections that feels inviting. The costumes by Celia Erickson are colorful and character appropriate, helping define social roles, personalities, and the eccentricities of the characters at a glance. While some may find shortcomings in the play's somewhat lackluster opening and its overly whimsical nature, for those who enjoy satirical comedies, The Madwoman of Chaillot is a joyful play that celebrates compassion, imagination, and the power of standing up for what matters. Theatre Artists Studio's production honors the play's timeless message with engaging and uplifting performances that prove that good can triumph over evil and that sometimes it's the mad people in the community who are the only ones willing to stand up for what is right. The Madwoman of Chaillot runs through December 21, 2025, at Theatre Artists Studio, 4848 East Cactus Road, Scottsdale AZ. For tickets and information, please visit www.TheStudioPHX.org or call 602-765-0120 Directors: Carol MacLeod, Judy Rollins, Sue Back Cast: |
