A Short Review: A Flea in Her Ear

Well here it is at last, my review of "A Flea in Her Ear," directed by Richard Eyre at the Old Vic.
The show was amazing. I know I've seen that about all the West End shows I've reviewed so far, but this one takes the cake.

The show itself was written by Georges Feydeau, at the turn of the last century. He was a master of bedroom farce, and this show is a great example. I've been a lover of farce since I first saw a production of "Noises Off" by the National Theatre about 8 years ago. Farce is one of those things that, for me at least, is better seen for the first time than read. I won't get into the specifics of the play, but needless to say there are misunderstandings, mistaken identities, and a lot of slamming doors.

Francesca and I were lucky enough to see opening night of the show. Yes, there had been a week of previews, but the show was still fresh and not all of the kinks were worked out. After so many seamless productions, it was nice to see something still a bit "in process." There were a few dropped cues, a pyrotechnic goof, and one minute of almost uncontrolled laughter.

The show starred the talented Tom Hollander in the dual roles of the stuffy upper-class Victor Emmanuel and his doppelganger, the working class Poche. His performance was truly great in its comedic timing, and the massive amount of quick changes dictated by the script were pulled off seamlessly--a big surprise for opening night. The costumes, by Sue Blane, were classy Parisian, and bent on historical accuracy (the play taking place in the Belle Epoque). The thing I loved most was the printing of costume renderings in the program--what a treat!

I was surprised by the turns scenic design took. I was expecting a unit set, as the action for a show like this should really only require one locale. However, the play starts out in a large old Parisian manor home and then suddenly transports the audience (before intermission) to a very new, very ostentatious Art Nouveau hotel (and finally back to the home). The design, by Rob Howell, seemed to jar me out of the narrative. From muted color palette large sash windows to Nouveau statement swirls and curls, next to giant gold statuary and purple carpeting--this show took a leap. It worked well for showing the difference between the two worlds of the play, but at the same time as I sat through Act II, I longed for the "classic" farce feel of the old manor home. One thing I did realize was that when designing for a show with slamming doors, you have to make sure your walls are incredibly stable!

It was also nice going to the theatre with a friend, instead of on my own! On the docket to review next week: Agatha Christie's Mousetrap, National Theatre/Handspring Puppet Theatre's War Horse, and the West End Musical Smash hit Priscilla Queen of the Desert. Onward!

xoxo,
Antonia