Four women in revolution
There may be no really satisfactory way to deal with the high ideals and terrible realities of the French Revolution in a play. But a spirited fourwoman cast gave it a very good try — with comic, poignant and thoughtprovoking results — in a staging of “The Revolutionists.”
The recent play by Lauren Gunderson was performed Thursday in Oklahoma Shakespeare in the Park’s cool downstairs indoor venue at 2920 Paseo.
Wearing a turban and colorful costume, a little like Oklahoma’s state Capitol Sequoyah portrait, Erin Woods was outstanding as Olympe de Gouges. Woods got across the mixed motives and emotions of a writer trying to cover a revolution happening just outside her door in Paris during the Terror of 1793.
A writer with writer’s block, Woods gave spectators a fine front row seat, as her bric-a-brac filled home, became a way station for the other female revolutionaries.
Alexis Ward did an excellent job communicating the towering strength, vulnerability and deep humanity of Marianne Angelle, a black woman from the Caribbean. Clad in red, white, blue and a “Revolution for All” sash, Ward became the living embodiment of contradictions between plantation slavery and revolutionary ideals.
Madison Hill conveyed both the rah-rah spirit and purity of Charlotte Corday, a young woman on a mission, looking for last words before she murders Jean-Paul Marat.
Frumpy rather than glamorous in a pink wig and pale double-bustle dress, Amanda Lee was a delightful, scene-stealing surprise as the doomed Marie Antoinette.
To her credit, Lee made us see her as a victim of a “bad press” and loving mother who wants to live but doesn’t think she will, at least for very long.
Particularly touching was a scene in which Lee recalled meeting her husband, the dead king, on their wedding day. He was a simple man not ready for his role in history either.
Also sharpening the point and giving extra edge to the piece were shrill, anonymous, accusatory figures in long dark coats, tricorn hats and bird masks with curving beaks.
Briskly directed by Tyler Woods, the play described as “a comedy, a quartet, a … dream fugue” and “a true story” is demanding but ultimately rewarding.
Benefiting, too, from the colorful costumes of Elisa Bierschenk, as well as a superb set, sound and lighting design, it is highly recommended.