ALLEZ L’HÔTEL FRISKY PUSS!

REVIEW: A FLEA IN HER EAR

BY RYAN M. LUÉVANO

Mistaken identity, miscommunications, physical antics, secret rendezvous, rotating walls and a cleft palate equals hilarity beyond control. A Noise Within Theatre Company’s production of A Flea in Her Ear is a roller coaster of laughter from beginning to end. As the Southern California regional premiere of this Georges Feydeau classic farce written for American audiences by David Ives it’s not to be missed. Ives expertly adapts the original French version to suit American ears—the laughs are bigger than ever while retaining the witty spirit of the original. A Flea in Her Ear is the ultimate situational comedy, set in the 1950s Paris the play tells the story of middle-aged Victor suffering from impotence while his wife Raymonde is trying to prove that he is having an affair—chaos ensues.

Elyse Mirto, left, Jill Hill, and Jonathan Bray. Photo Credit: Craig Schwartz.

With a farcical play like this one the most important aspect is timing—the pacing of the dramatic momentum and the timing of the physical moments. Here director Julia Rodriguez-Elliot is a master craftsman, as it is wholly apparent that she has planned every moment with pinpoint precision. Each of the three acts builds momentum like snowball being hurled off a cliff. Acts I and III are all about the development of the characters and Act II is escapade in the Frisky Puss Hotel. Additionally, each individual act serves as a catalyst for the subsequent act further propelling the action to its resolution. Rodriguez-Elliot’s schematic for the play serves to guide the actors rather than restrict their own natural sensibilities. Rodriguez-Elliot lays down the underling beat and the actors are like soloist playing freely within the framework. With three weeks off from performing this work the actors’ timing was successful and there is no doubt that as they reacquaint themselves with the work again their timing will become only more precise.

Elyse Mirto, left, E.K. Dagenfield, and Jeremy Rabb. Photo Credit: Craig Schwartz.

Successfully performing farce requires a group of actors with a high level of dramatic acumen and stamina, which is exactly what this cast offers its audience. Performing comedy of any kind is an ancient ritual of sacrifice and feast—the actor is the sacrifice and the audience gets to feast. And in this production the actors deliver a comedic feast so great that the audience goes home thoroughly satiated.

The two female leads Raymonde (Elyse Mirto) and Lucienne (Jill Hill) play the scheming housewives, reminiscent of I Love Lucy’s Lucy and Ethel, win the audience from their first interaction that is impetus for the entire play. Mirto’s portrayal of the jealous, unsatisfied, flirty wife is impeccably charming she is a delight to watch on stage weaving in and out of all the mayhem she’s unknowingly created. Her accomplice Hill gives a performance full of dry wit and playful hysteria. One the favorite performance by the audiences was that of Camille (Rafael Goldstein), Victor’s nephew, whose cleft palate makes him unable to pronounce consonants. Goldstein who speaks mostly unintelligibility throughout does a remarkable job feigning that condition while still carrying purpose and comedy in his dialogue.

The most surprising and consummate character in the play was Victor (Geoff Elliott). The surprise was twofold: first, based on his first entrance, it did not seem Elliott’s character would be written so interestingly; and second the degree to which he performed his roles was absolutely spectacular—Elliott gives us everything. Tasked with portraying two characters at the drop of a hat, Victor the respectable businessman, and Poche the bumbling drunken porter, Elliot rises to the occasion balancing the two while maintaining the narrative throughout.

Geoff Elliott, left, Mitchell Edmonds, and Jill Hill. Photo Credit: Craig Schwartz.

With hints of 1950s sit-coms, Shakespearean plot devices and allusions, and classic comic opera moments (even a moment of song), A Flea in Her Ear is a romp not to be missed. This production runs until November 22, 2015 at A Noise Within in Pasadena.