The Madwoman of Chaillot

Jean Giraudoux's 1943 poetic satire, "The Madwoman of Chaillot," can, by its very nature, never go out of fashion. He attacked corrupt businessmen and industry who want to tear up most of Paris to enrich themselves by drilling for oil (and don't think the ANW audience didn't get the casual references to today's political scene).

Set in the cafe "Chez Francis" in the Chaillot district of Paris, the beloved eccentric of the area is Countess Aurelia of Chaillot (Deborah Strang at her best), daffy but not crazy, who is very much aware of her city and the dangers behind the rich monsters who would destroy what she and the others love about their 2,000-year-old home.

And as salient as Giraudoux's message was (and remains), his comedy is a fragile mess. The first of the two acts -- always the most difficult to keep from being dull -- is surreal, whimsical and fantastical, with the more interesting second act being more realistically portrayed.

Director Stephanie Shroyer does what she can with her superb cast to make it entertaining, but is sabotaged from the beginning by the playwright. For one thing, there's a lack of bile from the affected "little" people by the outrageous behavior of the fat cats, The Prospector (Armin Shimmerman), The President (Wesley Mann) and The Baron (Apollo Dukakis). There's charm, especially in the second act from the other three "madwomen": Constance of Passy (Susan Angelo), Gabrielle of St. Sulpice (Jill Hill) and Josephine of La Concorde (Veralyn Jones).

The charm also includes a gay waiter (Michael Sturgis), an engaging street singer (Richy Storrs), a dirty, but sage (aren't they always?) ragpicker (George Villes in a role not usually played as deeply as it is here), an Asian deaf-mute (Jay Lee), a lovely waitress, Irma (Leslie Lank), who is in love with Pierre (Raphael Goldstein in the show's most affecting performance), and the always dependable Stephen Weingartner in a variety of roles, not always recognizable as such.

There's fun to be had here, on Angela Balogh Calin's colorful set, as well as how her striking costumes observe the class of the wearer, but not a lot of logical sense (again, blame the writer). I suppose the play can be produced unifying the various at odds with each other segments, but I've never seen that happen. Still, you won't hate it and might actually get the subliminal message of live and let live by not screwing over the many for the financial sake of the few. Are you listening, Trump?

"The Madwoman of Chaillot" plays through November 11 at A Noise Within Theatre, 3352 E. Foothill Blvd, Pasadena, 91107. For tickets or information, call 626-356-3100 or visit www.anoisewithin.org

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