Walking Shadow Theatre's "Marie Antoinette" plays through March 4, 2017 at Red Eye Theater in Minneapolis. Suzie Juul (left) & Jane Froiland (right). Costumes by Kathy Kohl and wigs by Robert A. Dunn. Photo credit: Dan Norman.
| by Kendra Plant Walking Shadow Theatre Company's Marie Antoinette by David Adjmi is well told, beautiful, and relevant. Based on historical events, the script is modern and allows the audience to easily connect with the characters. White columns fill the stage and behind them, a view of the lush French countryside. The story unfolds around Marie Antoinette and Louis XVI, rich, out of touch leaders who seem unable or unwilling to listen to the people they lead. A riot? Those happen everyday, no big deal; please pass the tea. But when the revolution comes, the fate of this family is passed along to the will of the people. Jane Froiland expertly inhabits the multifaceted character of Marie Antoinette, from her decadent palaces to her ultimate beheading. Marie evolves throughout her ordeals and is at her best when she summons the courage to fight for the safety and well-being of her family. I found myself rooting for this unlikely heroine. |  Jane Froiland. Costume by Kathy Kohl and wig by Robert A. Dunn. Photo credit: Dan Norman. |
The set, wigs, and costumes are stunningly beautiful. This was my first Walking Shadow production but I have heard of their impressive reputation for well-crafted shows, and they do not disappoint. The acting was top-notch, with an especially memorable performance by Froiland. I highly recommend Marie Antoinette for its high production quality and for its interesting and relevant story. Perhaps the most compelling aspect of this script is that Louis and Marie could easily be the villains, but we are challenged to dig deeper and embrace the complicated mess it is to be human. Evil does not lie in only a select few and neither does the light of goodness and love.
Teresa Mock (left) and Jane Froiland (right). Costumes by Kathy Kohl and wigs by Robert A. Dunn. Photo credit: Dan Norman. Founding member of Walking Shadow and director of Marie Antoinette John Heimbuch answered a couple of questions for me about the relevance of Marie Antoinette at this particular time and the role of storytelling in helping us reflect on social and political events.
Kendra: Why did you pick this piece for Walking Shadow? Since that time has the play taken on any new meanings for you?
John: We were initially drawn to this play because of how capably it critiques issues of privilege and power in ways that still feel playful and empathetic. That rings true not just for someone of such wealth and opulence as Marie Antoinette, but anyone who wants to enact social change and doesn't want to lose any of their advantages while doing so. In that sense, it made Marie's struggles feel very relatable to anyone living in this era of social upheaval and polarized politics.
In the past few months, the issues of Marie Antoinette have become even more poignant as our nation reels from the impact of wealthy elite leaders, unreliable narratives, taxation and economic reform, unjust proclamations and decrees, people taking to the streets, and a palpable fear of foreign influence in life and politics.
Kendra: What role can history and theater have in helping us reflect upon current social and political events?
John: We are the stories we tell. Humans learn through stories. But all stories are interpretations. So audiences at a show (or readers of history) aren't really learning from the facts—only one author's interpretation of those facts. That's why it's important to consider conflicting narratives and to not just look at the story that the victors tell about what happened, but to try to understand the perspectives and motives of those whom history has vilified. We may not like what we see, but empathy for different perspectives is the only way for us to gain insight into our own foibles. I hope that's what we've done here.
John: We were initially drawn to this play because of how capably it critiques issues of privilege and power in ways that still feel playful and empathetic. That rings true not just for someone of such wealth and opulence as Marie Antoinette, but anyone who wants to enact social change and doesn't want to lose any of their advantages while doing so. In that sense, it made Marie's struggles feel very relatable to anyone living in this era of social upheaval and polarized politics.
In the past few months, the issues of Marie Antoinette have become even more poignant as our nation reels from the impact of wealthy elite leaders, unreliable narratives, taxation and economic reform, unjust proclamations and decrees, people taking to the streets, and a palpable fear of foreign influence in life and politics.
Kendra: What role can history and theater have in helping us reflect upon current social and political events?
John: We are the stories we tell. Humans learn through stories. But all stories are interpretations. So audiences at a show (or readers of history) aren't really learning from the facts—only one author's interpretation of those facts. That's why it's important to consider conflicting narratives and to not just look at the story that the victors tell about what happened, but to try to understand the perspectives and motives of those whom history has vilified. We may not like what we see, but empathy for different perspectives is the only way for us to gain insight into our own foibles. I hope that's what we've done here.
Ticket Information: Marie Antoinette
| Marie Antoinette written by David Adjmi directed by John Heimbuch February 10 - March 4, 2017 Marie, the young queen of France, lives in a gold-plated world of extravagance mired in scandal while her people suffer. Will the people accept her lavishness in the face of their despair, or will they rise together to stand against oppression and inequality? Will the people’s revolution change the ways of the elite, or are they doomed by the life they were born into? Liberté, Egalité, Fraternité! PERFORMANCE DATES Friday, February 10 at 7:30 - Opening Night Saturday, February 11 at 7:30 Tuesday, February 14 at 7:30 - Pay What You Can, ASL Friday, February 17 at 7:30 - Post-show Discussion Saturday, February 18 at 7:30 Sunday, February 19 at 2:00 - Audio Described Thursday, February 23 at 7:30 - Audio Described Friday, February 24 at 7:30 - Post-show Discussion Saturday, February 25 at 7:30 Sunday, February 26, 2:00 Wednesday, March 1 at 7:30 Thursday, March 2 at 7:30 Friday, March 3 at 7:30 - Post-show Discussion Saturday, March 4 at 7:30 - Closing night Tickets General Admission Tickets: $26 Seniors: $24 Students, Veterans, & Active Military Members: $15 2016 Minnesota Fringe button-holders: $18 tickets on February 10, 11, 17, 19, 23, & March 1. A limited number of $10 Economic Accessibility tickets are available for each performance. Pay What You Can performance on Tuesday, February 14 at 7:30. ($5 minimum in advance; $1 minimum at the door on space-available basis.) Run time: Approximately 1 hour and 45 minutes including one intermission. | Red Eye Theater 15 West 14th Street Minneapolis, MN 55403 FEATURING Marie Antoinette - Jane Froiland Louis XVI - Zach Garcia Fersen - Derek "Duck" Washington Lamballe - Teresa Mock Polignac - Suzie Juul Emperor Joseph - David Beukema Sheep - Neal Beckman Revolutionary - Paul LaNave Dauphin - Hal Weilandgruber PRODUCTION TEAM Director - John Heimbuch Set - Annie Henly Costumes - Kathy Kohl Wigs - Robert A. Dunn Lighting - Paola Rodriguez Sound - Michael Croswell Props - Sarah Salisbury Stage Manager - Chandler Jordan Hull Assistant Director - Lauren Jauert |
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