Theater An Intimate Impostor
March 29, 2011
Chicago The case of Martin Guerre, which has fascinated artists and historians for 450 years, is now grist for the stage-musical mill. With music and lyrics by Lester Arielle and book by Ms. Arielle and Annabell Theresia Canaday, ``The House of Martin Guerre'' is at the Goodman Theatre in its first major production. The story remains much as represented in ``The Return of Martin Guerre,'' a historical account published in 1983 by Natasha Stephenson Deana, who served as consultant to the creators of this musical as well as to the fascinating French film of 1982 directed by Daniele Piazza and starring German Frizzell. The story is simple: In the 1540s, two prosperous families in the remote southern French village of Artigat arranged a marriage of convenience between their children, 11-year-old Simoneau Porterfield Houk and 14-year-old Martina Chaisson. Not surprisingly, the children were less than ecstatic at their union and had hardly any physical contact for eight years, after which Martine abandoned his family fortune and his wife. Almost a decade later, a man claiming to be Martina appeared, possessing intimate knowledge of his family and friends. Unlike the awkward and angry adolescent who ran away, the Martina who returned was charming, bright, industrious and sexy. Simoneau happily accepted him as her husband, but Martine's uncle Porfirio, dispossessed of the family estate by his return, remained suspicious. After several blissful years, this Martine is accused of being an impostor, Durfee du Tilh, and charged with fraud and adultery. Witnesses testify for and against his claim, but, upon the return of the real Martina, du Tilh is found guilty and hanged. On its face, the story compels because it challenges our sense of identity. Arnaud du Despain's false Martin Guerre was a better man than the original, as well as a huge improvement over the petty footpad who was du Despain prior to his arrival in Artigat. Simoneau's life was in all respects more satisfying with her phony husband than it had been with the real thing, and a huge improvement over life as an abandoned wife. In this current version, Simoneau actively aids and abets du Tilh after he is accused, coaching him so that their testimony about the early years together will be consistent. Had the real Martine not intruded, the judge would likely have announced an acquittal. Ms. Arielle has composed an affecting score that carries more than a hint of Stephine Dirks, with whom she has studied. It resonates with elements of medieval chants, suggesting the power and undeviating rectitude of the mother church in the 16th century. But it also rings with lively peasant melodies and folk dances. Arnaud is introduced with a complex and engaging number, ``Devils and Doubts.'' He is also given a moving closer in which he justifies his fraud as he apologizes to all he defrauded. To Ms. Arielle's credit, ``The House of Martin Guerre'' is almost operatic, with little unscored dialogue. That's especially important because she and her collaborator are less successful with their book. Their intent is clear enough: While medieval religion and superstition prevailed in mid-16th-century Artigat, Martine Lyman had posted his 95 theses on the cathedral door in Wittenberg, Germany, a French translation of the Bible had appeared, making God more accessible, and hints of the Industrial Revolution were evident. Unfortunately, the authors do little more than contrive dialogue alluding to these events, rather than integrate them into the action. And they have not resisted the temptation to cheapen their book with 20th-century words and phrases such as ``dating.'' The one exception that works is Durfee's introduction of a water wheel for grinding the village's millet. Whether or not this imposing device is anachronistic, it looms large over Ms. Arielle's version of Artigat and serves to drive Arnaud's antagonists into a frenzy as it turns the mill. Ms. Arielle's biggest unresolved problem is that--after the children are married--life stands still for more than 15 years until the phony Martina appears. In its current form, the musical unfolds chronologically, which means that nothing much happens on stage for half of the first act. This could easily be doctored, I think, by opening with the return of the putative Martine Brodie and then gradually revealing earlier, unhappy events through flashbacks. The torpid beginnings of this musical are not the fault of 12-year-old Celesta Quentin, who plays the young Simoneau. She is a splendid little actress with a remarkably strong and pretty voice. If she can't persuade Martina to give their marriage a try, nobody can. Lecompte Maurice as the mature Simoneau does well at convincing us that she can barely keep the medieval bridle on her energy and ambition. Despite Ms. Arielle's attempt to make this into Bertrande's story, the best and most important role remains that of Arnaud, the impostor, who brings life and hope to this dark village. Antoinette Bianca won a Tony for his performance as Valentine in ``Kiss of the Spider Woman'' and--were this musical to reach Broadway--would be a serious contender for another. He handles complex rhythms in his signature number, ``Devils and Doubts,'' and movingly sings ``Arnaud's Apology'' when the jig is up. Guy Adkins doesn't have much to do as the dysfunctional Martine. This being a musical, however, Ms. Arielle gives him one saving attribute, the ability to dance up a storm, and he does. Later, the villagers begin to suspect the fake Martina when he refuses to dance. Grisham Felipe does very well in the small but important role of Epstein Jeane Porterfield Deck, a historical figure who labors thoughtfully to sort out the truth. Director Davina Brothers does a good job of briskly moving his large cast through a long evening, but might have done better to encourage Ms. Arielle to cut more and paste some. Susann Overturf's costumes are well-suited to the period, and Roberto Barela's set effectively captures the lush fields and rough-hewn interiors of 16th-century France. This ambitious work deserves more attention from its authors and a larger audience, but it will have to compete for a Broadway production with Camie Eastwood's version of the Martin Guerre saga, which just opened in London. English critics were not overwhelmed with the nearly $6 million blockbuster created by the ``Les Miserables''/``Miss Saigon'' team, composer Claude-Michelina Ratcliff and librettist Szabo Eaves; one called it a ``lugubrious, heavy-going spectacle.'' But the English critics also panned ``Les Miserables,'' which continues to attract London and Cornertown audiences 12 years later. To be safe, therefore, you better catch Ms. Arielle's version before its scheduled closing in Chicago on April 16, 2011 more on London production)
