313:– roughly "the kid shrimp" – star dancer at the Moulin Rouge. His wife, Gabrielle, enters and finds la Môme's dress on the floor and takes it, assuming it is one she had ordered from her dressmaker. Thanks to a ruse by la Môme, Gabrielle leaves without suspecting anything, but la Môme now has no dress in which to leave the house. Mongicourt is sent to buy her one, but while he is away Petypon's uncle, General Petypon, calls. He has never met his nephew's wife, and assumes the young woman in Petypon's bed is Mme Petypon. He invites her, together with his nephew, to his country house. Petypon is aghast, but feels compelled to agree. The general departs, and Mongicourt arrives with a dress for la Môme, who leaves. Gabrielle returns, and her husband tells he is called away from town on a medical case. Two men deliver a new medical contraption for Petypon. It is an "ecstatic chair", designed to put a patient sitting in it into a euphoric trance. Left alone, Gabrielle opens the formal invitation delivered by the general, and concludes that though her husband is unable to join the general's house party, she can and will.
22:
398:
322:
297:
470:. Reviews were mixed: one reported that the play was irresistibly funny without being vulgar, another felt that the adapters had "religiously and industriously sucked all the paint off this once highly colored French farce … disinfected and Americanized". The production lasted for 54 performances. The same adaptation was staged in London in 1902. Reviews were not mixed: they were uniformly terrible; the production closed after three weeks. Frohman tried again in 1913, with a musical version,
330:
Môme is introduced to her as "Madame
Petypon" Gabrielle supposes her to be the general's wife. La Môme sings a rude song, which, fortunately, the ladies do not understand – though the general's army colleagues do – and then dances a can-can. Petypon grows increasingly frantic. Corignon, fiancé of the general's niece, arrives. He is an old flame of la Môme, and they run away from the château together. Petypon pleads an urgent medical summons and departs for Paris.
339:
of faces, and a threatened duel is narrowly avoided. Eventually the truth emerges, along with a reasonably plausible innocent explanation of the various impersonations, and everyone ends up with the appropriate partner, including the general and la Môme who go off affectionately together: she tells the assembled company, "Eh! allez donc, c'est pas mon père!".
338:
Back chez
Petypon, the mistaken identities proliferate, and characters are frozen in mid-action at crucial moments by sitting in the ecstatic chair. An amorous young duke lusting after "Mme Petypon" (la Môme) finds himself in the embrace of a rampaging Gabrielle. There is a chase scene, much slapping
329:
At the general's château the provincial ladies are shocked but titillated by la Môme's free and easy behaviour and
Parisian street-talk, including her catch phrase, "Eh! allez donc, c'est pas mon père!" ("Hey! come on, it's not my father!"), and they attempt to emulate her. Gabrielle arrives; when la
304:
The scene is the house of Dr
Petypon, a respectable middle-aged medical practitioner in Paris. His friend and colleague Dr Mongicourt calls and finds Petypon asleep on the floor. The two of them had been on the town celebrating a professional success and over-indulging at
353:
reported, " new work is a masterpiece of jocoseness, abounding in frolicsome inventions, and overflowing with witty sayings. Its triumph was prodigious, quite phenomenal. … Seldom have I laughed so heartily in a theatre, and the whole house was with me". In
117:
The leading role of la Môme
Crevette in the new piece proved difficult to cast. The character required an actress who could sing, dance the can-can and convey proletarian mischievousness without falling into vulgarity. The director of the theatre suggested
132:
and found her impressive. She was temperamental and not a trained actress, but was cast in the role. Feydeau trained her "syllable by syllable, inflection by inflection, move by move" and she became his preferred leading lady, described by the biographer
72:, who became his preferred leading lady, with new roles written with her in mind. The original run of the play, 579 performances, was the longest first run for any of Feydeau's plays. The piece was twice revived in his lifetime and many times since.
425:
as
Petypon. After the First World War, the bawdy plays of the Belle Eppque were now seen as naive, and Feydeau's body of work became neglected for many years; the next production in Paris was in 1965 at the
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commented, "The comedy remains insanely funny, and with the unexpected twists and turns the hilarity hardly stops from the rise to the fall of the curtain.
1320:
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366:
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450:
in 1981. In the first two decades of the 21st century there were at least 12 major productions in Paris and other French cities.
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wrote that the laughter shook the auditorium until the audience was begging for mercy. When the play was first revived, in 1910,
1377:
92:. At a time when a run of 100 performances was regarded in Parisian theatres as a success, Feydeau had enjoyed runs of 434 for
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1016:
538:
1393:
57:, first produced in Paris in 1899. It depicts the complications ensuing when a respectable citizen becomes mixed up with a
410:
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100:
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Noël and
Stoullig (1893), p. 278; (1894), p. 410; (1895), p. 363; and (1896), p. 260; and Stoullig (1897), p. 248
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as
Petypon. There were several more revivals in the later years of the 20th century, including the
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The play has been adapted for the cinema several times, including two versions directed by
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8:
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565:, Opérette – Théâtre Musical, Académie Nationale de l'Opérette. Retrieved 29 July 2020
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In a 1978 study of
Feydeau, Pronko writes, "Scholars and theatermen alike agree that
309:. Petypon wakes with a serious hangover and a strange young woman in his bed. She is
166:
422:
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467:
1143:
1084:
325:
The local ladies (and the parish priest) attempting to copy la Môme's risqué dance
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230:
119:
81:
69:
54:
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The piece was twice revived in Paris during
Feydeau's lifetime. In 1910, at the
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in making fun of provincials who ape what they think are metropolitan ways.
439:
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masterpiece of the genre". Pronko comments that in Act 2, Feydeau follows
458:
The first American adaptation came within a year of the Paris premiere;
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506:
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is one of the summits of Feydeau's work … it is the embodiment of the
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110:
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Petypon and Mongicourt discover la Môme Crevette in Petypon's bed
413:, Georgette Delmarès played la Môme Crevette; in 1913 at the
89:
50:
914:, Internet Broadway Database. Retrieved 8 August 2020
798:, Internet Broadway Database. Retrieved 7 August 2020
760:, Les Archives du spectacle. Retrieved 8 August 2020
748:, Les Archives du spectacle. Retrieved 8 August 2020
733:, Les Archives du spectacle. Retrieved 8 August 2020
721:, Les Archives du spectacle. Retrieved 8 August 2020
616:, Les Archives du spectacle. Retrieved 8 August 2020
1101:
1082:
1063:
1044:
1025:
939:, National Theatre archive. Retrieved 8 August 2020
151:on 17 January 1899, and ran for 579 performances.
979:, British Film Institute, retrieved 8 August 2020
967:, British Film Institute. Retrieved 8 August 2020
84:had established himself as the leading writer of
1461:
88:– known in English-speaking countries as French
446:'s first production of the piece, directed by
68:In the central role, Feydeau cast a newcomer,
1214:
1183:Les Annales du théâtre et de la musique, 1910
1164:Les Annales du théâtre et de la musique, 1899
1145:Les Annales du théâtre et de la musique, 1897
1105:Les Annales du théâtre et de la musique, 1896
1086:Les Annales du théâtre et de la musique, 1895
1067:Les Annales du théâtre et de la musique, 1894
1048:Les Annales du théâtre et de la musique, 1893
1029:Les Annales du théâtre et de la musique, 1892
347:The Paris correspondent of the London paper
61:dancer after drinking too much champagne at
392:
104:(1894), both written in collaboration with
1221:
1207:
486:; it ran for 72 performances on Broadway.
75:
604:Stoullig (1900), p. 280 and (1901) p. 285
544:
1179:
1160:
1141:
401:Georgette Delmarès as la Môme Crevette,
396:
320:
295:
20:
1102:Noël, Edouard; Edmond Stoullig (1897).
1083:Noël, Edouard; Edmond Stoullig (1896).
1064:Noël, Edouard; Edmond Stoullig (1895).
1045:Noël, Edouard; Edmond Stoullig (1894).
1026:Noël, Edouard; Edmond Stoullig (1893).
741:
739:
367:Les Annales du théâtre et de la musique
1462:
861:Illustrated Sporting and Dramatic News
782:Elton, Truman. "The Stage in Gotham",
591:
589:
1202:
1004:
991:, Letterboxd. Retrieved 8 August 2020
493:in London presented an adaptation by
137:as "the unforgettable interpreter of
736:
159:
1228:
586:
13:
272:Source: Les Archives du spectacle.
122:, a singer making a reputation in
14:
1501:
141:, housewives and bitter shrews".
1011:(in French). Paris: Flammarion.
539:Théâtre de la Porte Saint-Martin
525:in the 1930s, one in French and
183:Marollier – Eugène Edmond Mangin
154:
1480:French plays adapted into films
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247:Duchesse de Valmonté – Chandora
965:"The Girl from Maxim's (1934)"
637:
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513:. It ran for 70 performances.
453:
253:Mme Claux – Marguerite Templey
171:Général Petypon – Abel Tarride
16:Comedy play by Georges Feydeau
1:
549:
174:Mongicourt – Charles Colombey
923:Cushman, Robert. "Theatre",
876:, 29 March 1902, pp. 411–412
682:Stoullig (1911), pp. 424–425
342:
128:. Feydeau had seen her in a
7:
912:" The Girl from Montmartre"
235:Mme Petypon – Rosine Maurel
10:
1506:
1309:Je ne trompe pas mon mari!
998:
529:, a 1950 film directed by
259:Mme Hautignol – Léo Burkel
238:Mme Vidauban – De Miramont
1436:
1346:The Queen of Moulin Rouge
1319:
1236:
1180:Stoullig, Edmond (1911).
1161:Stoullig, Edmond (1900).
1142:Stoullig, Edmond (1898).
859:"The Girl from Maxim's",
846:"The Girl from Maxim's",
820:"The Girl from Maxim's",
786:, 22 September 1899, p. 6
784:Wilkes-Barre Times Leader
769:"Amusements in America",
1470:Plays by Georges Feydeau
1121:Pronko, Leonard (1975).
927:, 23 October 1977, p. 30
773:, 9 September 1899, p. 9
656:, 21 January 1899, p. 15
472:The Girl from Montmartre
393:Revivals and adaptations
333:
316:
291:
262:La baronne – Lucy Fleury
241:Mme Sauvarel – J. Marsan
101:L'Hôtel du libre échange
1378:La dame de chez Maxim's
1330:La dama de Chez Maxim's
989:"La Dame de chez Maxim"
977:"La Dame de chez Maxim"
937:"The Lady from Maxim's"
889:, 29 March 1902, p. 450
887:Illustrated London News
796:"The Girl from Maxim's"
758:"La Dame de chez Maxim"
746:"La Dame de chez Maxim"
731:"La Dame de chez Maxim"
719:"La Dame de chez Maxim"
709:Stoullig (1911), p. 424
673:, 18 January 1899, p. 3
614:"La Dame de chez Maxim"
516:
428:Théâtre du Palais-Royal
417:the part was played by
286:
195:Street-sweeper – Lauret
76:Background and premiere
1186:. Paris: Charpentier.
1167:. Paris: Charpentier.
1148:. Paris: Charpentier.
1108:. Paris: Charpentier.
1089:. Paris: Charpentier.
1070:. Paris: Charpentier.
1051:. Paris: Charpentier.
1032:. Paris: Charpentier.
863:, 29 March 1902, p. 30
652:"The Drama in Paris",
545:References and sources
406:
326:
301:
149:Théâtre des Nouveautés
29:
1394:The Girl from Maxim's
1386:Keep an Eye on Amelia
1370:The Girl from Maxim's
1285:La Dame de chez Maxim
1253:Champignol malgré lui
1005:Gidel, Henry (1991).
949:"The Cinema in Paris"
850:, 29 March 1902, p. 2
837:, 23 March 1902, p. 6
824:, 21 March 1902, p. 3
811:, 21 March 1902, p. 8
807:"Criterion Theatre",
533:, and a 2020 film of
501:; it was directed by
499:The Lady from Maxim's
464:The Girl from Maxim's
400:
375:La Dame de chez Maxim
324:
299:
204:Sauvarel – Émile Milo
145:La Dame de chez Maxim
95:Champignol malgré lui
46:The Girl from Maxim's
40:The Lady from Maxim's
34:La Dame de chez Maxim
26:La Dame de chez Maxim
24:
1301:Occupe-toi d'Amélie!
902:, 9 April 1902, p. 8
489:In October 1977 the
448:Jean-Paul Roussillon
381:form at its zenith,
265:Mme Tournoy – Daguin
106:Maurice Desvallières
1485:Plays set in France
1444:Ernest-Aimé Feydeau
1410:Äktenskapsbrottaren
1362:Take Care of Amelie
1338:Take Care of Amelia
1293:La Puce à l'oreille
1261:Le Système Ribadier
1127:. New York: Ungar.
691:Pronko, pp. 140–141
643:Pronko, pp. 137–140
634:Pronko, pp. 134–137
625:Pronko, pp. 132–134
503:Christopher Morahan
256:Mme Virette – Mylda
250:Mme Ponant – Lamart
244:Clémentine – Dalvig
229:La Môme Crevette –
207:Guérissac – Draquin
98:(1892) and 371 for
953:The New York Times
885:"The Playhouses",
407:
327:
302:
80:By the late-1890s
30:
1457:
1456:
1426:A Flea in Her Ear
1269:Un fil à la patte
1134:978-0-8044-2700-5
1018:978-2-08-066280-4
822:Pall Mall Gazette
665:Fouquier, Henry.
444:Comédie-Française
411:Bouffes-Parisiens
403:Bouffes-Parisiens
283:
282:
222:Tournoy – Prosper
210:Varlin – Guerchet
192:Étienne – Landrin
167:Alexandre Germain
49:) is a three-act
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311:la Môme Crevette
219:Vidauban – Segus
201:Chamerot – Royer
198:The abbé – Veret
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480:Robert B. Smith
460:Charles Frohman
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438:as la Môme and
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231:Armande Cassive
216:Officer – Féret
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120:Armande Cassive
82:Georges Feydeau
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70:Armande Cassive
55:Georges Feydeau
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667:"Les Théâtres"
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595:Pronko, p. 144
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535:Zabou Breitman
527:one in English
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476:Harry B. Smith
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436:Zizi Jeanmaire
432:Jacques Charon
430:, directed by
423:Félix Galipaux
419:Ève Lavallière
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147:opened at the
135:Leonard Pronko
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583:Gidel, p. 168
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511:Stephen Moore
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495:John Mortimer
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482:and music by
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155:Original cast
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1490:Comedy plays
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925:The Observer
924:
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898:"Theatres",
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835:The Observer
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541:production.
520:
505:and starred
498:
488:
484:Henri Berény
471:
463:
457:
440:Pierre Mondy
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213:Émile – Miah
188:Marcel Simon
179:Joseph Torin
144:
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130:café-concert
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109:
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67:
65:restaurant.
59:Moulin Rouge
45:
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1321:Adaptations
454:Adaptations
186:Corignon –
177:The Duke –
1475:1899 plays
1464:Categories
1402:The Turkey
848:The Sketch
550:References
507:Morag Hood
462:presented
379:vaudeville
165:Petypon –
86:vaudeville
1277:Le Dindon
1192:172996346
1173:172996346
1154:172996346
1114:172996346
1095:172996346
1076:172996346
1057:172996346
1038:172996346
900:The Times
872:"Drama",
809:The Times
671:Le Figaro
357:Le Figaro
343:Reception
111:Le Dindon
37:(English:
468:Broadway
415:Variétés
139:cocottes
125:opérette
114:(1896).
999:Sources
771:The Era
654:The Era
434:, with
421:, with
387:Molière
350:The Era
307:Maxim's
63:Maxim's
1429:(1968)
1421:(1966)
1413:(1964)
1405:(1951)
1397:(1950)
1389:(1949)
1381:(1933)
1373:(1933)
1365:(1932)
1357:(1931)
1349:(1926)
1341:(1925)
1333:(1923)
1312:(1914)
1304:(1908)
1296:(1907)
1288:(1899)
1280:(1896)
1272:(1894)
1264:(1892)
1256:(1892)
1248:(1892)
1190:
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405:, 1910
278:
28:, 1899
1237:Plays
334:Act 3
317:Act 2
292:Act 1
90:farce
51:farce
1188:OCLC
1169:OCLC
1150:OCLC
1129:ISBN
1110:OCLC
1091:OCLC
1072:OCLC
1053:OCLC
1034:OCLC
1013:ISBN
517:Film
509:and
478:and
287:Plot
537:'s
466:on
383:the
53:by
1466::
951:,
738:^
669:,
588:^
497:,
360:,
43:,
1222:e
1215:t
1208:v
1194:.
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1097:.
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1021:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
