Student actors give color to ‘poetically satirical’ play, which opens at HRVHS this weekend

It’s also a representative of the wise, funny, loopy, and ultimately logical observations on life, love, politics, and shoelaces, in Jean Giraudoux’s 1943 play.

“The Madwoman of Chaillot” has been described as “one part fantasy and two parts reason,” said director Rachel Harry, adding that it played Broadway for two years and won a Tony, “and is considered one of the most interesting and rewarding plays to have been written in the ‘40s and ‘50s.”

Performances begin Feb. 27-28, March 6-7 and March 13-14, 7 p.m. and March 1 at 2 p.m. Tickets are $8 for adults, $6 for seniors and students, in Bowe Theater at Hood River Valley High School.

“I chose the play for a variety of reasons; there are many wonderful quirky parts for my actors to play with, very strong female roles and fast paced humor,” Harry said. Senior Delaney Barbour portrays Madame Aurelia, the street-savvy regal guardian of Paris who sees through the posers and thieves of the world but believes in the power of love and beauty.

Ultimately, Madame Aurelia helps us see that if power corrupts absolutely, those who seek that power are brought down by their own ego and delusion.

The President of an almost-nameless company conspires with the Broker, the Baroness, and the Prospector to drain Paris of its oil, leaving the city lifeless. But with the help of a young man Pierre, The Ragpicker, the plaid-prone Dr. Jadin, and her friends Madame Josephine and Madame Constance and Madame Gabrielle, Countess Aurelia rules the day.

Countess: “We live in the age of the Golden Calf. Do you realize that? Men now publicly worship the Golden Calf.”

Gabrielle: “How awful! Have the authorities been notified?”

Countess: “The authorities do it themselves, Gabrielle.”

Harry said, “The theme is also one that I find relevant today, that of a large corporation squandering the resources of a neighborhood and threatening the happiness of the local people.”

“This was a huge undertaking, with many roles to fill, and costumes to make,” Harry said. “Jeff Lorenzen spent countless hours with a small group of students and dads in building the complex set. Kathy Peldyak and Sarah Delano, Theresa North built the many costumes. Denise McCravey organized and worked on the program.”

This HRVHS production employs technical aspects such as trap door and elaborate sets and bountiful props, as well as numerous actors in all manner of costume performing quiet but critical non-verbal activity in the background and off to the side. It’s busy and often farcical, just like the script, but every small piece connects to the whole. Every character’s actions, whether they are giving speeches or never speaking a line, play an important part in creating a vibrant, off-kilter world of street performers, beggars, waiters, policemen, peddlers and more. The life of every figure on stage has meaning: the painter’s gestures, a young woman’s uncertain glance, a policeman’s frown, a flower peddler’s pacing, a waiter arguing with a customer.

The big speeches belong to Miguel Vasquez as The President, Jasper Krehbiel as The Ragpicker, Olivia Newcomb as Madame Josephine, and, of course, to Barbour as the Countess, but one character with no lines, spoken ones at least, is the Deaf Mute, and he has perhaps the most to say.

The cast (see list, page A9) is “a huge group,” Harry said, “which means many of the sophomores and freshman who don’t normally get roles are included. Generally the upperclassmen have grown so much those new ones in can’t compete, but this year, with this size of group we have representation from all grades. What I have overhead so much during rehearsals this year is the wonderful tradition of the theater in force, that of the elders passing on the wisdom to the younger, less experienced actors.

“Over and over again I would hear gracious, kind comments from my seniors and juniors to the younger ones to help them play their roles better,” Harry said. “Growing up in the ballet world where the tradition is for the retiring dancers to pass on the choreography for the standards to the young up and coming dancers: the elders spent hours coaching the new ones,” Harry said. “I keep that tradition going with pairing my experienced techies with the new students, training them until they decide the new techs can work on their own. My senior Phoenix Theatre students play a similar role in leadership positions. So to see that happening in the winter play was truly heartwarming. This is a gracious, empathetic and brilliant cast.

“If you look at movies from the 1930s and ‘40s you will find so many ensemble roles, and lots of parts with only a few lines,” Harry said. “These actors flowed in the background, to create the energy of the scene, the background for the speakers. It is so important. You see this in the plays of the time as well, larger than life, with a zest for everything the players do. I encourage my actors to deliver this in that form as well.

“I impress upon how important their roles are, and to never judge a part by how many lines you say,” Harry said. “So the creation of many of those roles were a collaboration of the costume mistress Kathy Peldyak, the actors and myself.”

Some special skills are on display. For instance, The Juggler (sophomore Lucy Fine).

“Lucy is a wonderful kid who has been moved around in parts as the original cast moved. She learned juggling from her father, and was originally cast as a gold digger (which she played very well) until another student realized that the time commitment for the play was too great,” Harry said. “She loved her part as the femme fatale, but is a real trouper and understands that it doesn’t matter what part you have, you are just grateful to be onstage.”

The musicians: Pierre (Matthew McCravey) and the Deaf Mute (Elizabeth Bailey) play multiple roles, including the violin and accordion music that begins the play. “The music in the play was written expressly for the 1945 production,” Harry said. “I knew Matt is an exceptional violinist and Elizabeth was a deft pianist. I gave Elizabeth my accordion and said ‘learn it’. They both learned the music and are doing a terrific job. I added the little dance, it is a mazurka after all, because whenever I can I try to add a dance number, or at least some music to my plays.

Harry also noted that “the set design reflects the energy of this play as well as the colorful characters. I researched photos of cafes in Paris, and chose my colors from that palate. The second act set, which takes place in the sewer, continues with the same colors but in more subdued tones.

“My biggest lighting challenge was the fact that everyone wore hats then, and I always push my set out into the audience far beyond what the original lighting can handle. I had to use the pipes I put up 20 years ago in the house to bring illumination to their faces this year.”

‘MADWOMAN’ CAST LIST

Broker – Rachel Gunnerson

President/Adolph 4 - Miguel Vasguez

Baronness – Madison Kern

Prospector – Sam Hannigan

Sergeant –Rebecca Wolf and Meghan Ball

Ragpicker – Jasper Krehbiel

Pierre – Matt McCravey

Sewerman – Sienna Reynolds

Waiter – Nick Molina

Policeman – Claire Hamada

Doorman – Neil Hauer

Peddler – Dani Hildreth

Juggler- Lucy Fine

Professor- Meghan Ball

Dr. Jadin – Rhianna Salman

Money Hungry Man – Nathan Daniel

Deaf Mute – Elizabeth Bailey

Countess Aurelia (Madwoman of Chaillot) – Delaney Barbour

Madame Constance – Cayla Sacre

Madame Josephine – Olivia Newcomb

Mademoiselle Gabriele - Emma Dexter and Lani Euwer

Irma – Sophia Marbles

Street Singer – Sean Gray

Flower Girl – Rory Krehbiel

Blonde Model /Woman 1-Lily Galvez

Brunette Model/Woman 2 – Catelyn McAllister

President 2/Adolph 1- Neil Hauer

President 3/Adolph 2 – Nick Molina

Press Agent 1/Adolph 3 – Rebecca Wolf and Meghan Ball

Press Agent 2 –Meiling Bangalphong

Prospector 2 – Catherine Kellet

Prospector 3 – Emily Spezia-Swift