"The Revolutionists" de Lauren Gunderson

Ce sera le 3 septembre au Main Street Theater.

Un spectacle haut en couleur de Lauren Gunderson :



Ca promet !!

Cette pièce écrite par Lauren Gunderson a déjà été représentée avec succès sur plusieurs scènes. Elle le sera effectivement en Septembre prochain au Main Street Theater de Houston. Le spectacle met en scène quatre Femmes agissant pendant la Révolution, Olympe de Gouges, Charlotte Corday, Marianne Angelle et Marie-Antoinette.


Marianne Angelle (Callina Situka), Olympe de Gouges (Shannon Emerick), Charlotte Corday (Molly Searcy), et Marie Antoinette (Bree Welch).

L'argument questionne les thèmes des Liberté, Egalité, Sororité.





Il s'agit d'une comédie présentée comme brutale et irrévérencieuse.

Sources : http://www.broadwayworld.com/houston/article/Photo-Flash-The-Revolutionists-at-MST-20160812
https://newplayexchange.org/plays/3510/revolutionists
http://www.houstonpress.com/arts/the-revolutionists-presents-a-new-take-on-the-french-revolution-8690818

Notre Boudoir vous tiendra évidemment au courant des répercussions de ce spectacle.

Bien à vous

madame antoine

Ha bah ....... Si je pouvais me téléporter jusque là j'irais c'est sûr !
Les costumes ont l'air trop cool

mais au prix où sont les billets d'avion ....   et je vais pas me faire l'Atlantique à la nage non plus  

Il y a eu une autre production l'année passée.
j'y étais pas non plus  

Les costumes me plaisent encore plus. Et la Reine


http://therevolutionists.tumblr.com/

Tout à fait celle de Sofia !!

Et ça continue, la pièce tourne!

OCT opens its new season with a very meta ‘The Revolutionists’


Inga R. Wilson as Marie Antoinette
Oregon Contemporary Theatre
https://eugenearttalk.com/2016/09/oct-opens-its-new-season-with-a-very-meta-the-revolutionists/

The Santa Cruz Center for Culture :

Au Nora's Theatre ça déménage !

“The Revolutionists,” about four women who insist on playing roles in the French Revolution, is the most serious modern comedy I know. Its production at Theatre Horizon fits the play perfectly, alternating between lightheaded and tragic, fluidly moving from mood to mood without being forced.


Charlotte Northeast in Theatre Horizon's production of "The Revolutionists."
(Photo courtesy of Alex Medvick)

Lauren Gunderson, the crafty San Francisco-based playwright who wrote “The Revolutionists,” classifies it several ways in her script: “A Comedy. A Quartet. A Revolutionary Dream Fugue. A True Story.” That last one is not really the case; three of the play’s four characters were real and the fourth is a composite. And although the play captures the revolution’s elations and horrors, its gist springs completely from Gunderson’s lively imagination.

Picture this: A playwright named Olympe (Olympe de Gouges was a feminist playwright) sits at her writing desk, trying to come up with the definitive stage piece that captures the revolution. In comes a black woman named Marianne (a composite representing women opposing the French in Haiti) to see what Olympe is working on, and to seek a well-written declaration for her own cause. But Olympe’s too busy trying to create a play. “I want to challenge audiences … really push them,” explains Olympe. “This is our time to make a better world for everyone… who sees my plays.”

Responds Marianne: “You’re always so close to selflessness.”

Soon enough, there’s a knock at the door, and in walks Charlotte (Charlotte Corday, a French activist). She says she needs a really good exit line because she’s about to kill the journalist Jean-Paul Marat, whom she holds responsible for many deaths so far in the revolutionary violence. “My actions will be talked about for centuries and I don’t want to sound like a dingbat,” Charlotte says.

Those demands on the playwright would be enough — and then the deposed queen, Marie Antoinette, shows up. “I’m here for a rewrite,” she tells Olympe. She needs better press.

What’s a poor playwright to do? The answer comes in Gunderson’s play, in which these modern-talking women prod, tease and comfort each other as the guillotine outside the door falls repeatedly through the days and the lofty ideals of the revolution vanish in pools of blood.

Kathryn MacMillan’s snap-snap direction moves the repartee swiftly and brings out the best – and sometimes, the worst – in these women, whose portrayals by four Philadelphia-based actors are distinct and impassioned. Charlotte Northeast infuses Olympe with an unswavering belief in the power of art – her art, but OK – and clearly shows us that behind Olympe’s lofty blather is often … more blather. Jaylene Clark Owens gives us a Marianne who appears not just street smart, but savvy about the French both in Paris and in her native Saint-Domingue (now Haiti), where the citizens are deep into their own revolt against the French in 1793, when “The Revolutionists” takes place. Owens’ Marianne is a walking pronouncement whose body-length sash declares “Revolution for All.” (The costumes are by Janus Stefanowicz.)

Clair Inie-Richards, as Charlotte, makes her plan to murder the hated Jean-Paul Marat seem the most sensible idea a gal could conjure. When Inie-Richards tells us the character’s an assassin and “it is fun,” we believe her. Jessica Bedford, as a primped and spoiled Marie Antoinette, has many of the best lines, delivered here with perfect timing and a nonstop whiff of unquestioned entitlement.

When things get tough in “The Revolutionists,” they’re deadly – no matter how much fun Gunderson has with these four hip women, they still must live in a France overtaken by anarchy. Olympe, the writer, ultimately understands her limits. “Fiction,” she tells Marie Antoinette, “I can fix. Reality is way too hard to write.” When you mix both, Gunderson shows, you can get a rich cake. And as Marie might say, let ‘em eat it.

https://whyy.org/articles/fighting-good-fights-revolutionists/

The crew takes an active role in 'The Revolutionists' at UNO

By Betsie Freeman / World-Herald staff writer 22 hrs ago

In the new show from the University of Nebraska at Omaha Theatre Department, the stage crew is essentially part of the cast.

Scene changes for “The Revolutionists” need to be seamless, so the crew was involved in rehearsals earlier in the process than usual, said publicity coordinator Katie Otten.

The show is about four women who band together to change the world during the French Revolution. Playwright Olympe de Gouges (Sam Mashek), assassin Charlotte Corday (Aidan Hay), activist Marianne Angelle (Yone Edegbele) and former queen Marie Antoinette plot murder and fight extremist activity in this comedy. They may be dressed in corsets and wigs, but they have a modern way of dealing with political tyrants, including strong adult language.

Lauren Gunderson’s play premiered at the Cincinnati Playhouse in the Park in 2016 and got critical acclaim for its take on how history is made and people are remembered. Some have compared it to “Hamilton” for its theme and story.

The playwright also is known for “Silent Sky,” which was produced by the Blue Barn Theatre last season.
http://www.omaha.com/go/arts/the-crew-takes-an-active-role-in-the-revolutionists-at/article_b19e33b6-e0f3-52f3-9c83-c60fd0fe6baa.html

BWW Review: Raleigh Little Theatre's Timely REVOLUTIONISTS Feels Like the Right Story for Right Now



Earlier this year, I interviewed Mo Gaffney in advance of the opening of PARALLEL LIVES at The Women's Theatre Festival. When I asked Gaffney, who is not only an actress and writer, but also a devout activist, what she hoped the takeaway of her play was for audiences, she said, "women are funny, number one, and feminists are funny, number two."

Last weekend, Lauren Gunderson's THE REVOLUTIONISTS opened at Raleigh Little Theatre, proving once again that women and feminists can be very funny.

THE REVOLUTIONISTS tells the story of four women during the French Revolution: Marie Antoinette, an "occasionally, unexpectedly profound queen who needs better press," Olympe de Gouges, the feminist playwright who published her "Declaration of the Rights of Woman and of the [Female] Citizen" in 1791, Charlotte Corday, "an assassin on a deadline," and Marianne Angelle, a Caribbean slave who has come to France to rally for her people's freedom.

The four unlikely allies come together in Olympe de Gouges study, each with an agenda, each with a compelling story to tell.

Under the direction of Amy White, the capable cast of four women seem more comfortable with the quick-witted, comedic elements of Gunderson's smart script than the dramatic ones that mark the second act. Still, in the last moments of the play, the quartet come together in a display of sisterhood, solidarity, and strength, which is at the heart of this play, that is ultimately believable and poignant.

Considering the play opened at the end of a news cycle wherein Bill Cosby was sentenced to prison for sexual assault and Christine Blasey Ford testified before the Senate Judiciary Committee, Gunderson's timely and thought-provoking tragicomedy feels like the right story for right now and a fitting piece for Raleigh Little Theatre's "Acts of Courage" season.

THE REVOLUTIONISTS runs through October 14th at Raleigh Little Theatre. In conjunction with the play, Raleigh Little Theatre will host the "Eyes Up Comedy Show" drawing on the theme of "Lost My Head" on October 6th. For more information visit: https://raleighlittletheatre.org/shows/the-revolutionists/.
https://www.broadwayworld.com/raleigh/

Une autre production :



Shepard and Ridgeway talk revolution in Olympe's loft in “The Revolutionists.” Photo: Jay Yamada, Town Hall Theatre Company

On ne va pas se refaire toutes ces productions
Vous les trouverez ici :
https://www.binghamton.edu/news/story/1362/meet-the-student-actors-in-the-revolutionists

Sautons donc à l'essentiel


Amelia Pena as Marie Antoinette, sophomore, theatre/business administration, Woodbury, N.Y.


The role: Marie Antoinette, queen of France, later beheaded in the revolution.

Pena’s take on the character: “I didn’t know much about her before being cast. But I have developed such an appreciation for her as a person. She was blamed for a lot of the French Revolution − and what the men were doing. She was seeking the approval of everybody and wanted everyone to like her. … It’s fun to play her. There are moments on stage when she is the ditzy queen. That’s how she was raised − everything is centered around her. But Marie also has profound moments in which she is so right about what is going on. She’s not as dumb as she lets on.”

• Her fellow cast members say ...

Leisenheimer: “Amelia has taken the role and brought so much of herself into it. She doesn’t need to play the character of Marie Antoinette because she is Marie Antoinette.”

Sierra: “Amelia just loves the ditziness, the air-headedness and the ‘serve me, love-me’ of Marie Antoinette. She is all in! She loves it, she lives in, so she is it. She organically humanizes Marie Antoinette because she loves who she is. And the comedy she brings is funny!”

Photo de famille :



Tempe Center for the Arts (TCA) and The Bridge Initiative present the Arizona premiere of the hysterical and historical comedy, The Revolutionists, by Lauren Gunderson, December 7-15.

Set during the French Revolution's Reign of Terror (1793-94), Playwright Olympe De Gouges, assassin Charlotte Corday, and former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, lose their heads, and try to beat back the extremist insanity in revolutionary Paris. Armed with sharp wit and even sharper knives, this comedy of liberté, égalité, and sororité is about violence and legacy, feminism and terrorism, art and how we actually go about changing the world.

Although Gunderson was nationally the most-produced playwright in 2016 and 2017, this is the first time her work has been presented in Arizona, which both exemplifies The Bridge reason for being and the lack of professional female-penned work in the Valley. While set in the past, Gunderson's play is a relevant and timely treatise for the United States today as it celebrates women out to change the world.

Directed by well-known Valley actress/director Debra K. Stevens, the piece features top local talent onstage and offstage and achieves gender parity (and then some).

The all-female cast & production team includes Lucy Atkins (as assassin Charlotte Corday), Shae Kennedy Leonard (as French Queen Marie Antoinette), Maren Mascarelli (as playwright Olympe de Gouges) and Sasha Wordlaw (as Caribbean abolitionist Marianne Angelle), Sarah G. Chanis (Stage Manager), Kathleen Dooner (Production Manager), Kara Thomason (scenic), Natalie S. Ward (props), Adle Smithson (costumes), Kara Ramlow (lighting), and Kristen Peterson (Technical Director).

Show schedule and tickets available at Tempe Center for the Arts box office, online at tempecenterforthearts.com and by phone (480) 350-2822.
https://www.broadwayworld.com/phoenix/

Un peu loin pour réserver, mais le coeur y est !

And, for further information :
https://www.facebook.com/ColoradoMtnCollege/photos/a.101019009310/10157364415414311/?type=3

THE REVOLUTIONISTS at Strawdog Theatre Company :

Autre scène d'ambiance



Comedic and thought-provoking are both accurate terms for Epic Theatre Company's Rhode Island premiere of Lauren Gunderson's 2018 play, THE REVOLUTIONISTS. In times of political unrest, what is the place of art? Does equality also apply to women? Is theatre something frivolous and only for the rich? Or is writing in any form a truly revolutionary act, as something that will last long after the original writer is dead? These are just some of the issues that are raised by Gunderson's play and that are tackled with aplomb in this production.

Our play begins in 1793, the middle of the French Revolution, in the writing room of Olympes de Gouges (a real historical figure), played by Joanne Fayan as a frazzled but determined Revolutionary playwright. De Gouges just can't decide what to write next, leading us into a very meta play about writing a play, that is hilariously self aware of this fact. Before she can wallow in despair for too long, she's quickly joined by three other women, all hoping that she will be the writer to help them with the variety of situations they face. Angelique Dina is the bold Marianne Angelle, a free woman with the goal of abolishing slavery across the French empire, encouraging de Gouges to write pamphlets and treatises that will help her cause. Charlotte Corday (another real historical figure), portrayed here with moxie and fierceness by Betsy Rinaldi, is the next to appear, shortly before her "appointment" to assassinate a Jacobin leader Jean-Paul Marat, looking for a written line to accompany the deed she is about to do. Finally, "Marie enters" - Marie Antoinette that is. Recently deposed and saddened over what she perceives as her loss of popularity, she implores de Gouges for a rewrite. As Marie, Steph Rodger is appropriately dizzy and not-quite self aware, though even she has moments of poignancy. The camaraderie between all four women is excellent, through both the sublimely silly and the deadly serious. These women ultimately end up asking the unseen male leaders of the French Revolutionary government if women not only deserve equal rights, but also a full say in the new society being formed? With a guillotine often the answer, the actors appeal directly to the audience in a series of poignant moments.


Within the space of the Artists' Exchange Theatre 82, the scenery is kept spare which makes sense for the almost dreamlike feeling of this show, rapidly changing from one place to another. The set piece we return to multiple times, the guillotine, is portrayed through projection and sound. Lighting in this show, as directed by Alexander Sprague, is particularly well-used, especially the way people seem to "disappear" into the darkness after their execution.

While the language of the play reflects the era it was written in (ie. very modern), costume designers Peggy Begger and Joanne Fayan have stuck with clothing that reflects late 1700s French fashion, from a plainer dress for de Gouges to a wide pannier skirt for Antoinette.
https://www.broadwayworld.com/rhode-island/

Quelle soupe !

Epic's 'The Revolutionists' spotlights talented women of the theatre :



The women of “The Revolutionists,” playing now through February 23 at the Artists’ Exchange.
http://cranstononline.com/

Une autre production :



C'est à Cape Fear Playhouse. Hop dans un jet !
http://www.encorepub.com/about-women-starring-women-big-dawg-brings-historic-femme-figures-to-cape-fear-playhouse-in-the-revolutionists/

Quand donc nos amis Américains cesseront-ils de caricaturer la révolution française ?

Marina Shay en Marie-Antoinette :






https://storgram.com/marinashay
https://www.marinashay.com/about.html

Et ça reprend.



Four beautiful, badass women struggle to keep their heads in this irreverent, female-powered comedy set during the French Revolution. A playwright, an assassin, a Haitian rebel, and former queen (and fan of ribbons) Marie Antoinette hang out, murder Marat, and try to counter the extremist insanity in 1793 Paris. Packed with the zany ebullience that Gunderson writes so well, this grand comic adventure is about art and activism, feminism and terrorism, compatriots and chosen sisters, and how women will actually go about changing the world.

Tickets for 4:30 performances are $44.


https://upaf.org/events/the-revolutionists-by-lauren-gunderson-4-2019-10-19/

J'ai trouvé plein de photos.























Comme ça, on aura un bon aperçu.

Au Verge Theater, dirigé par Katie Gilbertson



Four beautiful, badass women lose their heads in this irreverent, girl-powered comedy set during the French Revolution’s Reign of Terror. Playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, and try to beat back the extremist insanity in 1793 Paris. This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world. It's a true story. Or total fiction. Or a play about a play. Or a raucous resurrection…that ends in a song and a scaffold.

“…a sassy, hold-on-to-your-seats theatrical adventure…[Gunderson] has created a play that is wonderfully wild and raucous…It’s a wild ride, filled with verbal gymnastics that come racing at you so quickly it’s occasionally hard to keep up. Listen closely, though, and hang on tight. If you do, you’ll be treated to an invigorating and enlightening journey.” —Cincinnati Enquirer. “It’s simply a brilliant script…” —CityBeat (Cincinnati). “…in this sparkling work, politics is very, very funny. [Gunderson] knows it’s tricky to present entertaining, yet socially driven art, but she does so without losing the rhythm and forward momentum of her characters…These are hilarious and lovable women trapped in a history with a somber final act.” —Houston Chronicle. “…an astoundingly accomplished show…a cause for rejoice…Ingeniously conceived and delivered.” —Atlanta Journal-Constitution. “THE REVOLUTIONISTS resembles a blindingly scintillating gem-like puzzle…By turns it is drolly funny and affectingly poignant, then doubles back to satirical farce, then ends by bringing into stark relief the social commentary that it has been nurturing all night.” —FloridaTheaterOnStage.com.
http://bozemanmagazine.com/events/2020/01/10/82168_play_the_revolutionists

au Santa Paula Theater Center

Toujours au Santa Paula -

• Playing DeGouges is Sarah Boughton, who puts on a "revolutionary" performance that is part Holly Hunter and part Jim Carrey, a combination of feminine self-righteousness and slapsticky over-reactions. One by one, she meets her fellow revolutionaries. Rosie Gordon is Charlotte Corday, who assassinated the fiery radical journalist Jean-Paul Marat by stabbing him in the chest in his bathtub, where he spent most of his time while battling a debilitating skin disease. The unhinged Charlotte is single-minded in her desire to dispose of Marat, a populist who fought for equal rights for the poorest members of society and comes to DeGouges in hopes she could write some last words for her to recite as she is led to the guillotine for her inevitable execution. "Theatre is for rich people and chandeliers," she complains, one of a number of swipes taken by Gunderson at conventional theatre and musicals in the play.
  
  Aileen-Marie Scott plays Marie Antoinette, the doomed Queen of France who was fighting against her reputation as a vacuous bubble head. "The cake thing was taken out of context," she whines. "I need better press." Scott is riotous in the role, especially when she yells out her stage directions.
  
  Juliana Acosta plays Marianne Angelle, a composite of a Caribbean abolitionist who is the only wholly fictional character. She is seeking an end to slavery on her island and approaches DeGouges to help her draft her pamphlets and declarations.

En images -

• The fun in The Revolutionists is the verbal gymnastics of the often uproarious script, which uses contemporary language (a lot of it profane) to make its points (did Marie Antoinette really use the word "chutzpah"?) All of this is performed under the looming Damocles-like shadow of a guillotine, each character's destiny in Act II.
  
  Smartly and briskly directed by Jessi May Stevenson, The Revolutionists features a stark, obtuse set design fashioned by Gary Richardson. The lavish costumery, which ranges from Corday's peasant outfit to Marie Antoinette's lush dress and towering wig, is by Barbara Pedziwiatr. The sound design includes a stream of appropriate musical references, including such songs as the Beatles' "Paperback Writer," and two by Queen: "Killer Queen" and, after the first execution, "Another One Bites the Dust."

https://www.broadwayworld.com/thousand-oaks/article/BWW-Review-THE-REVOLUTIONISTS-at-Santa-Paula-Theater-Center-20200306