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Feydeau Plays: 2
Kenneth McLeish's definitive translations of the most successful French dramatist of the Belle Epoque Georges Feydau (1862-1921) was the most successful French dramatist of the belle epoque and is now widely regarded as one of the greatest of farce-writers. His series of dazzling hits matched high-speed action and dialogue with ingenious plotting. Reaching the heights of farcical lunacy, his plays nevertheless contain touches of barbed social comment and allowed him to mention subjects which would have provoked outrage in the hands of more serious dramatists. This volume of new, sparkling translations by Kenneth McLeish contains two plays from the peak of his career, The Girl from Maxim 's and She's All Yours (La Main Passe), together with an early work, Jailbird (Gibier de potence).
Feydeau Plays: 1
Kenneth McLeish's definitive translations of the most successful French dramatist of the Belle Epoque Georges Feydau (1862-1921) was the most successful French dramatist of the belle epoque and is now widely regarded as one of the greatest of farce-writers. His series of dazzling hits match high-speed action and dialogue with ingenious plotting. Reaching the heights of farcical lunacy, his plays nevertheless contain touches of barbed social comment and allowed him to mention subjects which would have provoked outrage in the hands of more serious dramatists. This volume of new, sparkling translations by Kenneth McLeish contains his two masterpieces, Heart's Desire Hotel (L'Hôtel du libre échange) and Sauce For the Goose (Le Dindon), with three other plays from the peak of his career, The One That Got Away (Monsieur Chasse!), Now You See It (Le System Ribadier) and Pig in a Poke (Chat en poche).
Feydeau: Three Farces
Georges Feydeau, once considered as purveyor of slapstick farces, is now accepted as France’s best comic dramatist since Moliere. He once said that to make people laugh you have to place your cast in a dramatic situation and then observe them from a comic angle, but they must never do or say anything which is not strictly demanded, first by their character and secondly by the plot. Includes the plays Fitting for Ladies, A Close Shave and Sauce for the Goose. In Fitting for Ladies, a man on the look-out for a new romantic rendezvous is mistaken for a dressmaker... In A Close Shave, a woman's would-be lover has to assume the identity of her artist husband, who is about to be called up for military service. In Sauce for the Goose, a man discovers that the woman he is pursuing is the wife of an old friend...
A Flea in Her Ear
The wife of an insurance magnate, suspicious that her husband is having an affair, sends him a lascvicious invitation from an "anonymous" admirer, just to see if he'll show. The action of "A Flea in Her Ear," one of the best-known French farces, takes us to the sleazy Lanterne Rouge Hotel with a fine crop of mocking, mistaking, insulting, groping, kicking and mimicing, all in a spanking new translation.
Every Last Trick
‘My dear fellow. Dreadfully sorry. I’ll be marrying your wife.’ A charming politician and his glamorous new wife evoke a picture of marital bliss. Her first husband was a liar and a cheat. Her second is a different batch of chromosomes altogether. Not only is he chairman of the Feminist Forum but he clearly adores her. He says so, repeatedly, usually on Thursday nights when he goes out to ‘stretch his legs’. Her suspicions are obviously hormonal. But when he resorts to illusion to maintain the delusion, well, there’s a lot of confusion. If experience has taught her anything it’s the need to fight fire with fire, lies with more lies and every last trick with pure magic... A comic marvel from the master of French farce, Georges Feydeau, Every Last Trick is an ingenious look at the game of infidelity and marriage, given fresh life by Tamsin Oglesby.
Four Farces
Wild plots and quicksilver wit characterize the plays of Georges Feydeau. Called the greatest master of French comedy since Moliere by admirers such as Kenneth Tynan, Feydeau reflects the lusty tradition of the French bedroom farce as well as the tough exorbitant humor later to find full expression in the theater of the absurd. The plays offered in this volume represent the major stages of Feydeau's career. The one-act Wooed and Viewed was his first comedy, written in 1880. On the Marry-go-Wrong shows Feydeau on the way to becoming a master of mad imbroglio, a talent that he demonstrates in Not by Bed Alone. Going to Pot is a one-act play of conjugal strife of the emotional intensity that marked his work toward the end of his career.
Love by the Bolt
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