The Lady from Maxim's
at West Springfield HS

Reviewed on November 23, 2013

Chris Doan
Thomas Jefferson High School for Science and Technology
Submitted for publication to Washington Post - Fairfax

Take a drunken night out, a couple of middle-class chaps, a catty ‘lady of the evening', a heap of marital mishaps, and a vibrant performance of The Lady from Maxim's graces the stage at West Springfield High School. Embroiled in a hodgepodge of misinformation and cover-ups, the hijinks of a certain doctor's late night out enveloped the stage in a unique and vivacious performance of late 19th century France.

Written by Georges Feydeau at the end of the 19th century, La Dame de chez Maxim (translated to the Lady from Maxim's) was an innovative observation of the French social culture. Upon waking up from a drunken night out, Dr. Lucien Petypon finds a lascivious lady clad in undergarments in his bed. Through his struggle to hide her from his wife, Dr. Petypon ends up with a series of complications far more complex than he bartered for.

Portraying the titular Lady from Maxim's, Catherine Ariale provided an infectious vivacity to the stage as The Shrimp, shown through her impressive physicality with Forrest Browne (Dr. Lucien Petypon). Her teasing of the doctor, her showing of her knickers, and the couple's pantomimed arguments demonstrated their remarkable characterization. Even alone, Ariale's embodiment of The Shrimp was spot on—always energetic, yet socially graceless. As Dr. Petypon remarked, "every time she opens her mouth, she puts her foot in it!" From the brandishing of the first scarlet undergarment, the duo dominated the stage.

Tailing closely behind in the misadventure are Dr. Petypon's best friend, Dr. Mongicourt (Shane Chase), and Petypon's wife, Madame Gabrielle Petypon (Ellen Abood). As Dr. Petypon despaired of what to do with the wench, Chase's sincere, yet mocking tones provided a gratifying display of schadenfreude. Whilst Mongicourt professed his wry complaints about the deception, Gabrielle presented an impressive display of a woefully ill-informed wife, bumbling about, crashing weddings, and even being divinely inspired by The Shrimp improvising as a bed sheet ghost. Another standout character was the General Petypon du Grele, played by Joshua Elliot, whose stolid logic leads him to further aggravate the already complicated situation. A stickler for the rules, his deadpan tones coupled with a remarkable repertoire of quips elicited a steady stream of laughter. West Springfield's cast was bubbling with exuberant energy while always being in character.

Furthermore, the ambitious onstage setup was superb, with dynamic lighting and a two-stage set. The lighting was excellent throughout the show, bringing red and blue lighting to pare with the haunting episodes of Gabrielle. In addition, the set was impressive, exemplifying period accuracy with the tones used in the walls and bedroom—even the props and costumes were period accurate. Furthermore, the costumers (headed by Kelsey McPherson) outdid themselves with unique and time-accurate outfits for every unique character in the show. From courtesan outfits to military uniforms to ball gowns, the clothing always exemplified the part.

A unique romp of bedrooms and ballrooms, full of raunchy non-sequiturs and incredible comedic talent, West Springfield High School invoked the flighty attitude of Parisian life.

Aiden Carroll
Heritage High School
Submitted for publication to Washington Post - Fairfax

Extramarital affairs, flirtatious coquettes, and unfortunate misunderstandings perfectly sum up the farcical play The Lady from Maxim's. Originally written by Georges Faydeau, the story opens with Dr. Lucien Petypon recovering from a night of drinking, only to realize that, while in his inebriated state, he has brought home one of the Can-Can dancers from the gentlemen's club, Maxim's. What ensues is hilarious misconception as Petypon attempts to not only hide "The Shrimp" from his wife, but to disguise her in every way, shape, and form imaginable. The Lady from Maxim's fast-paced comedy not only keeps audiences on their toes, but provides a surplus of performance energy unrivaled in many other shows.

In West Springfield High School's production of The Lady from Maxim's, Catherine Ariale excelled in her portrayal of The Shrimp. The risqué personality of The Shrimp coupled with Ariale's inherent stage-presence led to a stellar performance--specifically, in Ariale's body language. The Shrimp's character is one of a typical coquette: flirtatious, unserious, and jovial. Ariale's performance not only encompassed these characteristics, but expanded upon them. Not only did Ariale play a part that could make the audience laugh, but she was able to use her lustful comedy and sarcastic remarks to create herself as a character with whom everyone, myself included, was able to sympathize with.

In terms of ensemble, WSHS's The Lady from Maxim's cast of "Madams" were the obvious choice. Not only did this fantastic group of girls cooperate well together, but they were able to break apart from the ensemble and shine in their singularity throughout Act II. Namely, Mallory Astrow's performance as Madame Sauvarel was one in which she was able to individually execute hilarious physical comedy before seamlessly melding back into the ensemble. Each member of the "Madams", even those without speaking roles, clearly showcased their individual character types which, ultimately, led to an interesting ensemble which perfectly complemented the rest of the show and led to an overall successful scene.

The set of WSHS's The Lady from Maxim's was able to add to the performance without being distracting, as any successful set should. The set, constructed by the West Springfield Tech Theatre Class, was beautifully built with an evident amount of thought devoted to the creation of the period. With only two set changes, WSHS did not disappoint; the two sets were diverse and both contained several complementary details. For example, in Petypon's home, the addition of the bedroom behind the maroon curtain was one that was unexpected and served to add an additional level to scenes. Although, in essence, nothing more than several walls, doors, and pieces of furniture, the set of WSHS's The Lady from Maxim's was masterfully created and leant to an overall beautiful performance.

WSHS's performance of The Lady from Maxim's not only showcased each member of the cast's individual hilarity, but was able to masterfully consolidate the efforts of each actor into one beautiful performance. With its crackpot comedy, WSHS's The Lady from Maxim's combined the immense talent of its cast with an outrageous storyline to achieve astonishing success.

Alyssa Denton
West Potomac High School
Submitted for publication to ShowBizRadio.net

"Jesus Christ on a bicycle!" the Shrimp proclaims to the Duchess. It wasn't just the country ladies and the Duchess laughing along with the Shrimp, such remarks sent the audience of West Springfield High School's The Lady from Maxim's into hysterics.

The Lady from Maxim's (La Dame de chez Maxim) is an 1899 three act farce written by Frenchman, Georges Feydeau. The play has been adapted as films and a musical making this play known as Feydeau's masterpiece.

This play follows the adventures of Dr. Petypon when he wakes from under a couch after a long night at local club, Maxim's, and he discovers that he brought lead dancer "The Shrimp" home with him. He has to hide his mistake from his wife, Gabrielle, and his uncle, the General, with only the help from his friend and coworker, Dr. Mongicourt. With cases of mistaken identity, extreme lying and even ghosts, will Dr. Petypon and Dr. Mongicourt pull off these theatrics?

Dr. Petypon, portrayed by Forrest Browne, led the show. Browne's panicked tone throughout the show made these unrealistic situations seem more realistic and brought sympathy to his character. Energetic female lead, The Shrimp, portrayed by Catherine Ariale, used extremely exaggerated physical comedy and had over the top expressions, bringing so much life and energy into every scene she was a part of. Browne and Ariale playing off of each other was endearing to watch, the two's reactions to each other lying or just them bickering off on the side, made the idea that it was completely awful to be in each other's company seemed more realistic.

Stealing the show was Petypon's boiler of a wife; Madame Gabrielle who was portrayed by actor and choreographer, Ellen Abood. Abood's reactions were on point and extremely hilarious and refreshing. Her character was often visited by ghosts and spirits who sent her fleeing off the scene. Because of this it made her seem like a madwoman which Abood happily embraced and exaggerated, causing the audience to fixate on her whenever she was on stage. Abood's choreography during the high kicking Can-Can girls' scene and during the ballroom was time period and entertaining. Without the choreography in the ballroom scene, the mood and hysterics of the scene would have been shifted.

Other standouts include Émile portrayed by Nyc Nguyen, Madame Sauvarel portrayed by Mallory Astrow and Lt. Corignon portrayed by William Shipley. Nguyen, Astrow and Shipley were only featured in one act of this three act production, but when they were onstage they completely stole the scene. Including Nguyen's over the top, flamboyant reactions, Shipley's enduring love towards the Shrimp and Astrow getting her foot stuck in the back of her chair while trying to impress her man. The three brought life to their act even when they weren't the center of attention.

The set was beautifully constructed; it was all very time period and intricate including separate rooms divided by curtains keeping it less cluttered when needed and allowing the actors to easily play off it. The lighting and sound were near flawless and always on point to what was going on with the scene--such as when an actor would use the light switch the stage would brighten. It was the little touches that added so much realism to the scene.

These unrealistic events touched at the idea of realism leaving the audience amazed and in awe of West Springfield's The Lady from Maxim's.

Emma Paquette
McLean High School
Submitted for publication to Red Apple 21 - FCPS

It's one thing to wake up under a couch in front of your servant. However, it's quite another when you find a crass, conniving, provocative cancan dancer in your bed, messing with your marriage, your cousin's marriage, and your entire existence. Here's a lesson against alcohol if there ever was one. West Springfield High School's amazing production of The Lady from Maxim's had the audience in hysterics throughout the whole three acts.

The Lady from Maxim's was originally a French play by the name of La Dame de chez Maxim written in 1899 by famous French farce playwright Georges Feydeau. The translation used in this production was the rare, out-of-print version by John Mortimer. In the wake of taking an innocent night out with a friend after a long operation, Doctor Lucien Petypon finds himself somehow mixed up with a cancan dancer who calls herself ‘The Shrimp'. The misunderstandings only increase as his wife, his uncle, and his new chair for putting patients to sleep get involved.

Catherine Ariale held nothing back as The Shrimp, throwing herself into the sensual and sneaky character with gusto. Her expressive face added to the showgirl's over-the-top dramatics and reckless impulses. She played off of the woefully distraught Petypon (Forrest Browne) fabulously, her wild antics causing him no shortage of grief. Browne, at the center of a continuing string of lies and misconceptions, was hilariously desperate as he tried to keep The Shrimp's true identity secret even as they pretended to be married. His exaggerated discomfort contrasted with Ariale's zealous thirst for life to manufacture quite a dynamic pair.

The supporting cast also contributed to the ordered chaos of the production, creating a clean and quick show through excellent comedic timing. Madame Petypon (Ellen Abood) was literally sidesplitting in her misadventures and imagined spiritual visions. Even when a pot was placed upon her head by the Angel Gabriel (really her husband), she took to her ‘mission' with utter seriousness and piousness, leaving the audience who knew the truth of the situation in roaring laughter. Dr. Mongicourt was played with masterful projection and articulation by Shane Chase. His spectator seat to the conflict often left him to laugh along at the absurdity of it all, making it all the more funny when he was dragged into it against his will. Finally, the ladies of the wedding party provided a fabulous ensemble, working well within their own unique characters to respond to the events of the evening. One particular standout was Madame Sauvarel (Mallory Astrow) whose awkward attempts at being Parisian failed miserably in the best of ways.

The tech was carefully researched to be as synonymous with the time period as possible, a time commitment that paid off for the production as a whole. The set was gorgeous, with a cohesive color pallet centered off of Victorian era furniture. The whole stage was utilized to give depth to the locations and give the rooms a more full feeling. Costumes were also amazingly period and very individualized for each ensemble member; their dresses or suits matched their characters very well. Lights were also effective, showing shifts as lights were switched on and off or when the chair was used.

"Cheer up darling! How's your father?" The Shrimp's nonsensical catchphrase might just catch on after West Springfield High School's boisterous performance of the witty farce, The Lady from Maxim's.

Cynthia Mullins
West Potomac High School
Submitted for publication to Patch.com - Fairfax

It's a seemingly normal day in Paris. That is, until the lights go up and Dr. Petypon (Forrest Browne) is found unconscious under a couch by his best friend, Mongicourt (Shane Chase) after a night of partying with the can-can dancers at the famed Maxim's club in Paris. Petypon's life takes a turn for the crazy when The Shrimp (Catherine Ariale), a wise cracking can-can dancer from the club, is found in his bed the next morning. He must do whatever he can including putting himself and those around him into ridiculous situations so as not to let his "old boiler" of a wife Gabrielle (Ellen Abood) or his uncle the General (Joshua Elliott) know what is going on.

West Springfield presents the hilarious French farce by George's Feydeau and translated by John Mortimer. Feydeau was the second most popular French playwright after Moliere. Writing over 60 plays, The Lady From Maxim's was one of his most beloved and famous as proven when it received many adaptations including a 1912 silent film, a 1923 Italian film, a 1933 British version, and most recently a 2013 musical version presented at the New York Musical Theatre Festival.

A play wouldn't be anything without its leads and West Springfield clearly did not disappoint. Ariale, Abood, and Browne as The Shrimp, Gabrielle, and Petypon were some of the most dynamic and well casted characters in high school theatre. All three captivated the audience every time they were on stage and showed full commitment to these hilarious roles. They all were equally impressive with their use of the freezing chair having to stay stuck in what appeared to be difficult positions to hold.

One group in particular that stood out were the Madames played by Emily Becker, Breanna Brown, Mallory Astrow, Shelby Buche, Elaine Stewart, and Maggie Rabe. This ensemble clearly understood how to work together and were a dynamic force to be reckoned with. They were always in character whenever on stage and did not overdo anything or drag the focus when it was not their turn in the spotlight. One actress in particular, Mallory Astrow, left the audience dying of laughter when she accidentally shoved her foot through a chair when trying out the new craze phrase from Paris of, "Cheer up darling, how's your father?"

The actors were all fabulous, but the show wouldn't have been anything without the technical aspects. Sound by Peter McAninch and Morgan Carter was consistently spot on for the entire production. There was never a moment when someone could not be heard or even muffled in the slightest. Every single actor who spoke had their voices projected with clear precision that was refreshing to experience from a high school.

Another impressive feat from this high school was the original choreography by Ellen Abood. The beginning of the show featured a fun pantomime scene of the night at Maxim's before the play begins. The Maxim dancers filed onto the stage and gave a wonderful performance that was choreographed and executed with proper historical technique especially with their hook ups.

Petypon may have had a stressful time dealing with his mountain of lies in this wonderful farce, but the audience at West Springfield's The Lady From Maxim's truly did get a kick out of his unfortunate luck at this exemplary production.

Isabel Zapata
McLean High School
Submitted for publication to Connection

After waking up from a night of drunken debauchery, Dr. Petypon spins a web of lies to keep his unsuspecting wife and uncle from discovering the notorious dancer found in his bed the next morning. A delightful romp, The Lady from Maxim's showcases a slew of talented performers and pokes fun at everything from provincial life to the medical profession on the West Springfield High School stage.

Born in France to a well-known Parisian writer, Georges Feydeau wrote La Dame de chez Maxim in 1899. His first significant international success, the play was translated by Gene Feist and re-titled The Lady from Maxim's. Mr. Feydeau is known for his immaculate theatrical structure and a form of writing Richard Hayes calls the "mathematics of theater." A whimsical farce, the plot follows the events following a doctor who wakes up to a hangover and a lady he brought home from Maxim's the previous night. The climax unfolds when everyone is invited to the uncle's castle and a wedding reveals false identities and unexpected coincidences.

Leading the show through fluid physicality and flirtatious charisma, Catherine Ariale as the Shrimp accentuates her gestures and movements to bring out her character's personality. As the flustered doctor trapped in a fake marriage, Forrest Browne as Dr. Lucien Petypon also magnifies his physicality through amplified facial expressions and voice inflections to pull of his character's role in the farce. As Gabrielle Petypon, a warmhearted wife unsettled by the voices of ghosts and spirits, Ellen Abood provides a standout comedic performance through grandiose gestures, striking energy, and complete commitment to character. Joshua Elliott as the General Petypon du Grelé grasps the delivery of his lines with ease and successfully showcases his competence with comedic timing, keeping the audience chuckling throughout his scenes.

Despite a limited amount of stage time, Mallory Astrow as Madame Sauvarel, a guest at the General's wedding, fantastically takes advantage of her lines to reinforce the cast's skill with comedic timing. Astrow takes on exaggerated physicality and facial expressions to fully deliver her lines with a farcical approach. Just as proficient with timing and twice as sassy, Nyc Nguyen as Émile masters the art of the scowl as he sends the audience chortling at his insolent glares toward the General's guests. The Madames at the wedding party work well as an ensemble, feeding off of each other's energy and showing complete dedication to their roles.

In terms of technicality, the crew paid particularly meticulous attention to detail in their sets and lighting. A typical Feydeau farce is usually set in an elegant belle époque Paris residence, with bedrooms and salons and doors as the essential parts of the tightly choreographed action. For this production, the crew chooses an excellent color palette to create beautiful visual tableaus of the living room and the lounge in the castle. The lighting crew rapidly responds to cues and sound crew provides subtle yet effective sound effects that add to the show's atmosphere. The costumes are period appropriate and individualized for each character, a difficult feat to accomplish with a large cast. Although the make-up and hair could be executed a little more cleanly, the designs are well researched and consistently period appropriate.

The overall high energy of the production at West Springfield High School excellently keeps the slapstick on point and the audience in stitches. Through grandiose physicality, visually pleasing technological aspects, and fantastic comedic timing, the cast and crew deliver an excellent rendition of Feydeau's riotous farce.

Parker Collins
Thomas Edison High School
Submitted for publication to Fairfax County Times

From the first high kick of the of the Can-can to the last "Cheer up, darling -- how's your father?", the cast and crew of West Springfield's The Lady From Maxim's brought hilarity and high spirits while breathing new life into Georges Fedyau's classic French farce.

After a long night of painting the town red, Dr. Lucien Petypon (Forrest Browne) is left with a shrimp in his bed. Not just any shrimp, but The Shrimp, the star performer at the Moulin Rogue. The Shrimp (Catherine Ariale) plans on leaving Petypon's house after she receives full payment for services rendered - and a generous tip. Petypon recruits his friend, Dr. Mangicourt (Shane Chase), to help hide The Shrimp from Gabrielle (Ellen Abood), Petypon's wife. When Petypon's uncle the General (Joshua Elliott) pays a surprise visit, Petypon is compelled to lie to the General, pretending The Shrimp is his spouse before the General discovers that Petypon has cheated on his wife. As Petypon, Dr. Mangicourt and The Shrimp struggle to conceal the truth, they are forced to create a series of tall tales, each one larger than the last.

Forrest Browne, as Petypon, created a character that was enjoyable to watch the entire show. Catherine Ariale's charisma glowed as The Shrimp, throwing herself at every monsieur on stage. Watching Browne and Ariale's characters survive the repeated mishaps and mayhem was never dull. Joshua Elliott portrayed the General as an oblivious old man and was on cue with his comedic delivery. Although the characters from Maxim's believed Ellen Abood, as Gabrielle, was a cracked old boiler, Abood was the star of the show and delivered every level of her character, from a stern, 19th Century wife to a gullible religious girl. With every facial expression and squeal from Abood had the audience in pieces. Characters in the ensemble were extremely gratifying to watch – the audience couldn't keep their eyes off of Stuart Pratuch, Nyc Nguyen, Emily Becker, Grace Duah, and Bonnie McClellan. Not to be forgotten are the Parisian Can-can girls who lit up the stage with their high-energy dance numbers.

Costumes, props and set pieces were reflective of the time period. Rebecca Waldrop's make-up team made every girl appear as if they were in a French painting. The West Springfield Tech Theatre Class brought Paris to life with their choices of green and pink walls of the Petypon home. Stephanie Roth's prop team chose pieces that took the audience back hundreds of years. James Clinton's lightning design was simple, yet the dimming effect of the sleepy chair added greatly to the comedic value of the show. Peter McAninch's sound was crystal clear, even when characters were caught in odd positions.

Most impressive was the production's careful attention to the rules of French comedy. Every character choice pushed high school actors to be as absurd as a professional French actor; every aside was delivered to leave others on stage ignorant to the plot; and Georges Feydeau's dark view of marriage wasn't diluted. He reminded the audience again – over a hundred years later - that sometimes we need a little something to take our minds off married life.

Maria Regina
Heritage High School
Submitted for publication to The Oracle

When a straitlaced doctor awakes to find a nightclub dancer lying in his bed, a comedy of errors is sure to ensue. Popular French playwright Georges Feydeau wrote The Lady from Maxim's, a farce with a plot in the style of "The Hangover," in 1899. This outrageous play follows Dr. Lucien Petypon as he struggles to rid himself of a wild, outspoken dancer with whom he spent a drunken night. As Petypon lies to his religious wife and military uncle, traveling to family weddings and juggling visitors, the ridiculous situation erupts in hilarious chaos.

West Springfield's production of The Lady from Maxim's starred Forrest Browne as Petypon and Catherine Ariale as his unwelcome visitor, known as "The Shrimp." Browne was convincing and humorous as the uptight doctor who cannot seem to overcome his frustration with Ariale's bubbly, cooky character. Ariale brought a modern twist to her role as the Shrimp, and was a distinct foil to Dr. Petypon's conservative wife, Gabrielle (Ellen Abood). Abood portrayed Gabrielle's deeply rooted faith with exaggerated physicality that kept the audience in fits of laughter. From stumbling around the stage and crying for safety from ghosts to awkwardly flirting with a young duke, Abood's character was delightfully funny.

The ensemble played a crucial part in the amusement of this production. In particular, guests at Petypon's Uncle's party were fully engaged in the scenes and their interactions elicited laughter. Madame Sauvarel (Mallory Astrow) got her foot stuck in a chair while mimicking the promiscuous Shrimp, and a disapproving, sassy server (Nyc Nguyen) stood out among the plethora of ensemble members. Despite some inauthentic choices, characters impressed the audience with their physicality, especially during difficult scenes in which everyone froze mid-scene. They also performed a brief dance number, choreographed by Ellen Abood, and while the dance was somewhat low energy, it was historically accurate and enhanced the mood of celebration.

Technically, West Springfield's crew brought 19th-century Paris to life through superb set pieces and lighting. The set, furnished in proper 1800's set pieces, made the show captivating. Petypon's consulting room, where most of the play occurs, had several adjoining rooms, including a bedchamber set behind the main room; the set's depth made hectic door-slamming scenes realistically comical. Furthermore, lighting, designed by James Clinton, Zack Brajnack, and Graham Hogg, was synched perfectly with various light switches and lamps. Sound (Peter McAninch and Morgan Carter) was also noteworthy, as the actors were audible and sound effects played without interference.

Costumers Kelsey McPherson, Glynnis Farleigh, Jessie Richardson, Adrienne Stolte, and Rebecca Waldrop created distinct characters through their selections of various outfits. The small ensemble of soldiers matched and clearly ranked below the grandly decorated General Petypon de Grele. Matronly Gabrielle was dressed in simple "old boiler" clothing, contrasting the lacy "underdrawers" and corset of Shrimp.

Bubbly entertainers, love triangles, and delusional wives are just a taste of West Springfield's hysterical production of The Lady from Maxim's.