Comédie Française

City:
Moscow

Cinemas:
Baltika
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Cinema Park Metropolis
CINEMA PARK Schelkovsky
Documentary Film Center
Eldar
Five stars on Smolenskaya
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Formula Kino Chertanovo
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Formula Kino na Kutuzovskom
Formula Kino na Polezhaevskoy
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KARO 10 Schuka
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KARO 6 Budapest
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KARO Sky 17 Aviapark
Kinokvartal Varshavka
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KINO OKKO Afimoll City
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Mori Cinema Kuntsevo
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Moskino Salyut
Moskino Sputnik
Moskino Vympel
Moskino Yunost
Moskino Zvezda
Philharmonic 2 Concert Hall
Poklonka Cinema Hall at The Victory Museum

Dates:
01.10.2018-30.09.2021


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Комеди Франсез: Блоха в ухе
A Flea in her ear

Country: France
Year: 2019
Cast: Serge Bagdassarian, Anna Cervinka, Pauline Clement, Sébastien Pouderoux, Jérémy Lopez, Thierry Hancisse, Alexandre Pavloff
Director: Lilo Baur
Set designer: Andrew D Edwards
Costume designer: Agnès Falque
Lighting Designer: Fabrice Kebour
Music: Mich Ochowiak
Genre: theatre production
Language: French
Translation: russian subtitles
Time: 2 hours 37 minutes
Возраст: 16+

In 1907, « La Puce à l’oreille » [A Flea in Her Ear] marked Feydeau’s triumphant return to vaudeville. Commenting on its impressive construction and incredible inventiveness, a contemporary critic described it as “a fireworks display set off over an anthill” while also expressing enthusiasm for the skill with which it revisits the theme of the double.

The primary source of the confusion that prevails throughout the play is a package opened “by mistake” by Raymonde: it contains suspenders sent from the Minet-Galant hotel. Piqued, she convinces herself that her husband is being unfaithful She asks her friend Lucienne to write a letter to invite her husband to a rendezvous in the same hotel. The accomplice’s plan goes terribly wrong because the letter written in her hand falls into those of her own husband, who in turn thinks he is being cheated on... All the characters end up at Le Minet-Galant where the hotel porter, Poche, is a dead ringer for Raymonde’s husband. « La Puce à l’oreille » pushes Feydeau’s ingenious use of stage resources to new limits, introducing an “emergency staircase” and, most notably, a stratagem to make adulterous couples disappear at the slightest alert.

By entrusting Lilo Baur with this play, whose first production at the Comédie-Française in Jean-Laurent Cochet’s staging dates only to 1978, Éric Ruf has offered the Troupe another opportunity to showcase its mastery of the mechanics of vaudeville.
The director could not have asked for better material with which to develop her artistic world and satisfy her love of acting.

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