Les
Comédiens Carolingiens
présentent
Il
était une fois…
Les
contes de ma Mère l’Oie

d’après
Charles Perrault
avril 2005
“An irresponsible perversion of the
original.”
– T. Thumb, The Fairy Tale Times
Personnages

| Ma Mère l’Oie . . . . . . . . . .
. . . . . . . |
Rose Mary SMITH |
| Cendrillon . . . . . . . . . . . . . . . . . . . . |
Christen GREEN |
| Prince . . . . . . . . . . . . . . . . . . . . . . . . . |
Jonathan KEESE |
| Petit Chaperon Rouge . . . . . . . . |
Liz DEMPSEY |
| Chat Botté . . . . . . . . . . . . . . . . . . . .
|
Wendy RICKENBAKER |
| Petit Poucet . . . . . . . . . . . . . . . . . . |
Bryan BURNS |
| Belle (au bois dormant) . . . . . . . |
Liz GRABENSTEIN |
| Barbe Bleue . . . . . . . . . . . . . . . . . . . |
Joseph FEWELL |
| Méchant Loup . . . . . . . . . . . . . . . . . |
Tyler BROWN |
| Marâtre . . . . . . . . . . . . . . . . . . . . . .
. |
Heather BENSON |
| Fanchon . . . . . . . . . . . . . . . . . . . . . . |
Rosa FANKHAUSER |
| Peau d’Âne . . . . . . . . . . . . . . . . . .
. . |
Hillary MORRIS |
| Marraine . . . . . . . . . . . . . . . . . . . . . |
Tracy FORD |

| Adaptation . . . . . . . . . . . . . . . . . . . . . . . .
|
Jeff PERSELS, avec Bill BURNS & Brigitte GUILLEMIN PERSELS |
| Mise en scène . . . . . . . . . . . . . . . . . . .
. . |
Jeff PERSELS |
| Répétiteurs & Souffleurs. . . . . . . .
. |
Jonathon ALLEN & David TAQUET |
| Décors (oie comprise !) . . . . . . . . . . . . |
Bryan BURNS , Bill BURNS & les Comédiens |
| Costumes . . . . .. . . . . . . . . . . . . . . . . . . .
|
Heather BENSON & les Comédiens |
| Caisse & CDs. . . . . . . . . . . . . . . . . . . . .
. |
Brigitte GUILLEMIN PERSELS |
English Synopsis
Charles Perrault’s beloved Mother Goose Tales have suffered
much creative manipulation and downright abuse ever since their
publication in 1697. The current adaptation is no exception. After
300+ years of uneasy cohabitation, the characters are as sick of
each other as they are of their narrator and surrogate parent, Mother
Goose. A fight breaks out during the umpteenth retelling of Cinderella,
provoking Mother Goose’s fatal heart attack. At first exhilarated
by their freedom, the characters dispose of the body and attempt
to decide their own fate for once. Centuries of dependence on maternal
guidance, however, prompt them first to follow Little Red Riding
Hood through the forest to Grandmother’s house to consult
that venerable lady. Along the way, the quarrelsome monsters of
vanity each try to pre-empt the others in telling their tales, until
they finally rid themselves of the most conceited among them, Cinderella.
When Little Red Riding Hood then cautions them that her Grandmother
isn’t getting any younger, they jumble the remaining tales
together in an effort to get through them faster. In so doing, they
realize (and give loud voice to) every individual injustice they
feel they have suffered as fairy tale characters. True to their
French roots, when their discontentment with their lot boils over,
they take to the streets in a general strike, marching to the French
workers’ anthem known the world over, L’Internationale.
Such organized civil disobedience comes at a price, and all but
Little Red Riding Hood are eaten by the Big Bad Wolf. Not overly
upset by the carnage, Red tries yet again to jump start her tale
and get the overstuffed wolf to Grandmother’s house. The strenuous
race so soon after such a hearty meal brings it all back up –
literally – including, to everyone’s surprise, a furious
Mother Goose, who had actually faked her heart attack in order to
get a much-needed vacation from her obnoxious brood. The characters’
relief at her unexpected return is short-lived as she takes back
control with punitive vengeance. They decide to trick her once more
into the belly of the wolf, who obligingly devours (again!) all
but a postcard from Red’s Grandmother he found in Mother Goose’s
apron pocket. The play ends with the characters contemplating Grandmother’s
invitation to join her in her new home, where the future will, perhaps,
be brighter...
|