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In POT BOUILLE, the well-known French novelist Emile Zola and
dramatist William Busnach combine their talents to unmask the
hypocrisy that hides behind the facade of a respectable and
fashionable Parisian apartment house. The Josserands are struggling
to make ends meet, and at the same time to marry off their two
daughters to prosperous businessmen. At the heart of this broken
family is a weak husband and domineering, spendthrift wife, who
between them create two willful children who are doomed to unhappy
lives. The sly and adulterous Berthe seduces a shop owner into
marriage, and Hortense eventually runs off with the man she
loves--knowing he'll never marry her. The result is an unflattering
portrayal of a corrupt, immoral society at the heart of French life
in the late nineteenth century. Based on one of the great novels of
modern literature
Four short French plays that resurrect tales by authors better
known for their fiction. MADEMOISELLE FIFI, adapted by Oscar
Metenier from a story by Guy de Maupassant, describes an incident
during the German occupation of France after the Franco-Prussian
War of 1870. The officers of an isolated German regiment send to
Rouen for prostitutes, but Lt. Wilhelm, better known as
Mademoiselle Fifi, mistreats one of the girls, leading to a fatal
confrontation. MEETING, adapted by Lucien Mayrargue from a story by
Guy de Maupassant, tells of a sailor who returns home after ten
years, only to have his savings stolen by the pimp of the girl he
sleeps with. In JACQUES DAMOUR, by Emile Zola and Leon Hennique, a
man believed dead returns home, only to find that his wife has
remarried a prosperous butcher. Finally, in Emile Zola's opera
libretto, LAZARUS is raised from the dead by Jesus, only to object
to being brought back to life. Four great dramas dealing with
life--and death
Emile Zola (1840-1902) was one of France's greatest novelists of
the nineteenth century, being most famous as a writer for Nana (the
story of a courtesan), and in the political world for his role in
exposing the frame-up of Captain Dreyfus. However, he had limited
success as a dramatist until he partnered with William Busnach, an
Algerian Jew. This adaptation of the Zola novel of the same name is
a powerful expose of life among the working poor, and the ravaging
effects of alcholism on average, decent folk. If fact, what's most
striking in this play is how human the workers are, certainly not
the "animals" described by opponents of Zola's works. The
destruction of a family is portrayed with clinical realism, but
also with sympathy and understanding, as each of the characters
gradually emerges as a sympathetic (or at least understandable)
person in his or her own right. First-rate drama by a master writer
Based on the bestselling novel of the same name by Joseph Conrad
(1857-1924), Lord Jim tells the story of the Third Mate aboard the
ship Patna. When the vessel is holed, Jim freezes and abandons his
post, leaving the 800 passengers to their fate. But the ship does
not sink, and although the ensuing inquest only strips Jim of his
license, the imputation of cowardice is more than the man can bear.
He settles in an Asian backwater state and eventually comes to
grips with his past, being driven to acts of apparent heroism to
prove his worth to others--and especially to himself. But to
Conrad, Jim's sacrifice merely proves that he really was a coward
after all. First-rate drama
Based on Zola's 1867 novel, and dramatized by the author in 1873,
this play is almost a French version of the Russian novel, Crime
and Punishment. Therese and her lover, Laurent, decide to kill her
likable but sickly husband, Camille (also her husband), and succeed
in doing so without arousing any suspicion. The boating accident
that ends Camille's life also makes Laurent a hero for rescuing
Therese. The lovers remain apart for a year, until friends of the
family suggest they marry. But both are remorseful and
guilt-ridden. Finally, Therese's mother discovers the truth, but
suffers a stroke and cannot speak. She just stares at them, and her
presence drives the lovers down the path to destruction. A powerful
and believable story that plays well even today.
Allan and his companions are stranded at a mountain lodge. He
decides to play cards with "The Man" himself, whose encounter with
the Devil has left him with the curse of being unable to lose at
gambling. Allan doesn't believe such nonsense, but has his own
strange meeting later that night--with disastrous consequences. A
thrilling tale of terror and horror!
Adapted from Alexandre Dumas Pere's novel, "La San Felice," this
play is set in the Kingdom of the Two Sicilies during Napoleonic
times, and features tyrants, traitors, and great acts of heroism.
First translation into English.
A rare 1826 French play by master fantasist Charles Nodier revisits
the legend of Frankenstein, recasting the legendary scientist as a
sorcerer and his Monster as a mute killer from Hell. The Hunchback
of Notre-Dame was adapted and rewritten by Victor Hugo himself into
a stage play that throws new light on the classic tragedy. These
two never-before-translated masterpieces are supplemented by an
all-new story by translator Frank J. Morlock (Lord Ruthven), in
which the Frankenstein Monster travels back in time to save
Quasimodo, but does not count on the intervention of - Dracula!
Three tales featuring the two most tragic monsters in the history
of Gothic literature.
Paul de Kock and Adolphe Guenee present a humorous dramatic prequel
to the well-known Alexandre Dumas tale of The Three Musketeers. The
four would-be adventurers--D'Artagnan, Aramis, Porthos, and
Athos--serendipitously encounter each other at an inn outside of
Paris, the city where they're heading to escape their present
situations and find their fortunes. They also meet there a
beautiful noblewoman fleeing an unwanted marriage imposed on her by
Cardinal Richelieu--and the girl's elderly husband, the lecherous
Marquis. Back and forth across France they chase each other,
seeking to rescue the woman's good name. While the drama can be
intense at times, it's all in good fun, and ultimately, of course,
everything works out for the best--with the four gentlemen earning
their commissions as King's Musketeers
Four French comedies on marriage, love, and manners. In THE WIDOW A
LA MODE, by Jean Donneau de Vise, the death of an aged husband
forces his young widow and other members of his family to scramble
quickly to save their fortunes while pretending to be overcome with
grief. WAYWARD WENCHES, by Jean-Francois Regnard, is a collection
of skits about bad girls who've gone wrong. Michel Baron's THE
ABDUCTIONS is a one-act farce about the vagaries of love in a
country setting, including cross-dressing and knock-about slapstick
shenanigans. Alain-Rene Lesage's THE SCHOOL FOR LOVERS is a comic
fantasy opera about what makes romance last--and what kills it. A
magician whisks young men and women to an enchanted isle--where
they become bored to death with love The characters in these plays
are still recognizable, even in modern settings; and this quartet
of comedies still makes us laugh. Great entertainment
Three French comedies of love and marriage. Charles Favart
contributes two comic operas of considerable verve and humor. In
THE DISGUISED LOVER, Julie pretends to be a man, and Clitandre
pretends to be a peasant. But it's all in good fun, and while the
play doesn't take itself seriously, all's well that ends well.
RUSTIC AMOURS is a strange but effective blend of classical opera
themes (shepherds and shepherdesses in love), combined with satire
about Parisian fops and uncouth peasants--all of whom love the same
beautiful shepherdess. Philippe Destouches' TRIPLE MARRIAGE is a
beautifully-constructed one-act comedy about marriages that
are--from the eighteenth-century high society's
point-of-view--inappropriate. Old Matthews wants to marry again,
but conceals his desire from his son and daughter, both of whom
wish to marry as well--but not the rich old spouses their father
has selected for them. Ultimately, the children take matters into
their own hands. All three plays could easily be adapted to the
modern stage, since their themes are universal.
Four French comedies by Jean-Francois Regnard (with Charles
Dufresny), who's considered to be the best comic playwright of his
age after Moliere. The sardonic and amusing THE TREE OF CHASTITY
has a slight plot, but the double-entendres flying rapidly right
and left keep the audience well-entertained. WAIT FOR ME UNDER THE
ELM is another farce filled with verve aplenty. THE UNFORESEEN
RETURN is a reworking of Plautus' Haunted House with a
seventeenth-century setting. THE RIDICULOUS MERCHANT is another
comedic romp. These bubbly, even obscene farces still hold up well
today, with all of the characters and their situations eminently
recognizable to modern audiences. Great dramatic fun
These eight short plays by Louis Carmontelle, Thomas Gueulette, Jan
Potocki, and Russian Empress Catherine II the Great (of all people
) were all the rage in eighteenth-century France--short skits that
could easily be performed by amateur companies. Since they weren't
writing "literature," the authors of these pieces could create
anything without adhering to the "dramatic rules." And invent they
did Bawdy, even obscene humor permeates many of these works. All of
them are wacky, anything-for-a-laugh comedies with little or no
attention paid to logic, plots, or themes--just a series of zany,
lewd, funny actions near enough to reality to be slightly
discomfiting to the popular audiences who loved them. And they
still remain as sidesplitting today as they were 200 years ago
Three French comedies focusing on Parisian women and their
intricate love lives. MIMI PINSON, by Jean Bayard and Philippe
Dumanoir, is a carefree, self-supporting, independent woman. She's
a grisette (working girl) who loves as she pleases, doesn't care
about money, and is both happy and charming in her simple life. THE
TYPE YOU DON'T MARRY, by Edouard Pailleron, tells the tale of the
girl Adrienne, who after being a mistress for six years, finally
succeeds in marrying her lover. Love triumphs over morality, as the
lover gives up a potentially good marriage and his family to remain
with the woman he loves. MARRIED SINCE NOON, by William Busnach and
Armand Liorat, is a monologue by a girl, Estelle, who's just
married. She's a bit naive and volatile, but utterly charming in
her simplicity. Three very funny plays that could still be
presented today
Here are four plays by the well-known American dramatist, Frank J.
Morlock. THE KEY TO THE GREAT GATE, based on a novel by Hinko
Gottlieb, is set in 1942 Vienna, where four Jews have been
imprisoned by the Nazis. The newest inmate, Tarnopolski, has
learned to manipulate the space-time continuum. His ability to
shrink and expand objects--including people--creates consternation
among both the prisoners and their guards. This is a moving story
about the power of the human spirit to survive the most appalling
conditions. HEROES AND ROMANTICS OF OUR TIMES, based on a play by
Henri Duvernois, is set in small-town America, where the corrupt
Sheriff gets his kicks by having his girlfriend pretend she's a
whore--until she becomes disgusted with the way he handles a
homeless man who finds a fortune on the street. LADY LIBERTY,
another adaptation from Duvernois, focuses on an inmate in a
sanitarium who's placed himself there deliberately to escape his
nagging wife--until, that is, she decides that she can't live
without him THE WRITING LESSON, based on a story by Ilya Ilf and
Yevgeni Petrov, is a comedy of the difficulties of writing
professionally under the Stalinist regime. Four great plays
focusing on the plight of the underdog
Two comedies by a cousin of French King Louis XIV. THE SPIRIT OF
CONTRADICTION is an hilarious play about a woman whose sole aim in
life is to prevent others (mostly in her own family) from getting
their way. So contrary is she to anything that's suggested to her
that her husband, daughter, and in-laws must conceal, as best they
can, their real wishes. But she knows they know--and this creates
absolutely side-splitting situations. This extremely popular comedy
had more performances by the Comedie Francaise through 1900 than
other play in its repertoire. THE DOUBLE WIDOWING is based on a
similar premise: a husband and wife hate each other (and are too
hypocritical to say so), but are drawn to their niece and nephew,
respectively. This attraction is not reciprocated by the young
people, who are in love with each other, but lack the money to
marry. The youngsters have to work through a charade to convince
their elders to back their union. Two brilliantly funny plays that
still hold up well today
Two plays by the well-known French Enlightenment philosopher and
writer, Denis Diderot. THE PLAY AND THE PROLOGUE examines, with a
certain amount of skepticism, the motives of people helping other
people. The playwright Hardouin, who's clearly modeled on Diderot
himself, manipulates those around him to generate what he believes
to be beneficial results for those in need--whatever those needs
are. But the recipients are not so sanguine about the underhanded
methods that Hardouin employs to attain his ends, however good they
might be. THE UNFORTUNATE FATHERS presents a family reduced to
extreme poverty and even starvation by the intemperate actions of a
father and his son. In the end, of course, all's well that ends
well. Charles Palissot, in his plays The Philosophers & The
Stumbling Block of Morals (also available from Borgo Press),
accused Diderot of being a dishonest charlatan. But these two plays
show a different side of Diderot--a man of compassion and caring,
but never a fool. Great Enlightenment drama
Three plays by French author Voltaire, author of the classic novel,
Candide. THE BARON OF OTRANTO tells the story of the beautiful
enslaved girl, Irene, who's quite shameless and uninhibited in
using her feminine charms to seduce and defeat her captor, the
corsair Abdullah--and thereby free her beloved Baron Otranto.
SAMSON is one of the best opera librettos that blends classic Greek
and Roman forms with Biblical theme and myth, retelling the Old
Testament tale of Samson and Delila. Samson's aria became France's
national anthem during the initial phase of the French Revolution.
PANDORA retells the classical myth of Prometheus, who steals the
fire of life from Heaven and then animates Pandora--his beautiful
creation who becomes his wife and lover, and whom Jupiter jealously
covets. Great French drama by an icon of French literature.
Two classical French plays by the author of Candide. IRENE is set
in the ancient Byzantine Empire. Alexis Comnenus, a noble general,
revolts against the Emperor Nicephorus, who's been jealous of the
officer's love for Nicephorus's wife, Irene. The Emperor dies
defending his throne, and Alexis takes his place. Now he wants to
marry his former lover. But although Irene has loved Alexis since
childhood, she cannot marry the murderer of her husband, however
odious he may have been. In the end she takes the only way out of
her dilemma. TANIS AND ZELIDE tells the tale of Queen Zelide of
Egypt, who's been driven from her throne by the Magi, and has taken
refuge with the shepherds of the countryside. Tanis, one of the
rustics, champions her cause, and wins battles on her behalf, while
one of Zelide's loyal officers, Phanor, looks on with jealousy.
Phanor betrays his lover to the evil priests, but Tanis prevails,
and marches on Memphis, Egypt, where he reveals that he's the
avatar of a god. The shepherd marries the Queen, and together they
rule Egypt. Two great dramas by an icon of French literature
Well-known French writer Theophile Gautier and Bernard Lopez
combine their talents in this send-up of the cloak-and-sword dramas
so popular with the Romantics. When the Spanish Queen's horse runs
away with her, two unknown caballeros rescue Elizabeth from certain
death--despite the fact that Spanish law prohibits anyone but the
King and her closest attendants from touching her. But the Queen is
not ungrateful, and Dona Beatrix, a Lady-in-Waiting, promises to
marry the unknown savior, sight unseen, if the Queen can somehow
save her rescuer from the capital punishment demanded by statute. A
comedy of errors ensues, with two possible suitors pressing their
claims upon Beatrix--and also on the Queen A delightful and
hilarious drama that should play well to modern audiences.
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