247:
being unwell, goes to bed, while the major leaves the room to prepare a hot poultice for her. Vatelin enters stealthily, and gets into the bed, where he supposes Meggy is expecting him. Immediately electric bells ring at terrific volume. Pontagnac, who is lying in wait with
Lucienne in the adjoining room to witness her husband's misconduct, has placed an apparatus under the mattress to trigger the bells. The room becomes the scene of chaos, the major applies the hot poultice to Vatelin by mistake, vengeful spouses, including Meggy's, come and go, and a brawl ensues when two different policemen attempt to arrest Pontagnac for improper conduct.
744:
226:
husband. Vatelin recognises
Pontagnac as one of his club friends; an explanation follows, and Pontagnac apologises profusely, but is still powerfully attracted to Lucienne. She tells him that he is wasting his time pursuing her: she is devoted to Vatelin and as long as he is faithful to her, she will be faithful to him. Moreover, in the unlikely event that Vatelin should ever stray, she has her own preferred candidate as partner in her revenge, a nice young man called RĂ©dillon, whom she finds attractive, despite his red beard.
29:
239:
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short and tubby – is the unwilling object of the passionate devotion of Madame Meggy
Soldignac. She is an Englishwoman whom he met while in London on business. She has pursued him to Paris, and threatens to kill herself unless he consents to meet her at the Ultimus Hotel. He reluctantly agrees. Pontagnac, learning of this, sees Vatelin's liaison as his opportunity to overcome Lucienne's resistance.
259:, intending to get him into bed to revenge herself on her husband, but RĂ©dillon is too fatigued from his demanding nocturnal activities with Armandine. Clotilde arrives, on the same mission as Lucienne, but RĂ©dillon cannot oblige. Pontagnac arrives in pursuit of Lucienne and is ignored. Vatelin enters, followed by a policeman whom he wants to witness an adultery
263:. Vatelin confesses to Rédillon that he is still in love with his wife and, when he learns that nothing has happened between the alleged lovers, he sobs with relief and pleasure. Lucienne overhears and falls into her husband's arms. Everyone is content, except for Pontagnac, who realises that he himself is the "dindon" – the "fall guy".
107:, in addition to the general meaning – "turkey", as in poultry – offers subsidiary definitions of "dindon": "un homme niais et infatué de lui-même … le dindon de la farce … la dupe, la victime d'une plaisanterie ou d'une intrigue" – "a silly, self-infatuated man … the turkey of the farce … the dupe, the victim of a joke or an intrigue."
229:
Pontagnac's wife, Clotilde, holds views similar to those of her friend
Lucienne: if ever she catches her husband straying, she will take her revenge with an attractive young man. It happens that the young man she has in mind is Rédillon. Pontagnac is unaware of this. Vatelin, though no Adonis – he is
225:
The scene is the drawing-room of the Paris residence of the
Vatelins. Pontagnac, although married to a beautiful wife, is a rake who obsessively pursues women. In pursuit of the highly respectable Mme Lucienne Vatelin he intrudes into her drawing room and becomes so pressing that she calls for her
246:
The scene is Room 39 of the
Ultimus Hotel. The room that Meggy has reserved is much in demand, and is double-booked in error. It is occupied in rapid succession by Rédillon and an attractive cocotte, Armandine, and then by Major Pinchard – an army surgeon – and his wife, who is deaf. The latter,
305:... is the most elegantly complex of his plays. By the end of each act, every character is spinning dizzily in a surreal climax of complications. … There is no one funnier than Feydeau in European drama, but there is equally no one who makes us look so unblinkingly at our basic selves."
271:
The critics were enthusiastic. One wrote, "The hilarious qualities of this side-splitting farce are enormous; it kept the house in a continual roar, especially during the second act, which is indescribably droll".
317:, where it ran for 98 performances. In 1951 the Comédie-Française took the piece into its repertoire, and revived the production 16 times over the next 20 years, with the central role of Pontagnac played by
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called it "the apogee of bedroom farce of its kind, and a pure delight" and rated the frenetic middle act superior even to the funniest scenes in
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of his generation. 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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When the play has been revived in more recent times it has had favourable views. Reviewing the 1959 production by the Comédie-Française,
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called the play "a masterpiece of farce" and wished that every director in the US could see the production. The director
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57:(roughly "the fall guy") to seduce a married woman, and the chaotic events caused by his fruitless machinations.
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49:, first produced in Paris in 1896. It depicts the unsuccessful attempts of the central character – the
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The title of the play has no exact
English equivalent in the context in which Feydeau uses it. The
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416:, Opérette – Théâtre Musical, Académie Nationale de l'Opérette. Retrieved 29 July 2020
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Noël and
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Translations and adaptations in
English have been given various titles, including
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called the piece "a joyous farce" and praised Feydeau's comic invention.
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85:(1894). Both those plays had been written in collaboration with
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Chapman, John. "An Old French Farce Comes Happily Alive",
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had established himself as the leading writer of French
599:, Les Archives du spectacle. Retrieved 7 August 2020
466:, Les Archives du spectacle. Retrieved 7 August 2020
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in New York staged the play in 2016 under the title
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100:on 8 February 1896, and ran for 238 performances.
535:Hope-Wallace, Philip. "Farce in best tradition",
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706:by Victor Gluck, theaterscene.net, 29 April 2016
329:and in some later runs, the author's grandson,
313:The play was revived in Paris in 1912, at the
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912:Les Annales du théâtre et de la musique, 1912
893:Les Annales du théâtre et de la musique, 1897
874:Les Annales du théâtre et de la musique, 1896
855:Les Annales du théâtre et de la musique, 1895
836:Les Annales du théâtre et de la musique, 1894
817:Les Annales du théâtre et de la musique, 1893
789:Les Annales du théâtre et de la musique, 1892
373:with the same title was made by the director
568:. "Everyday truth of frantic French farce",
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722:, frenchfilms.org. Retrieved 7 August 2020
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19:For the 1951 French film adaptation, see
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871:Noël, Édouard; Edmond Stoullig (1897).
852:Noël, Édouard; Edmond Stoullig (1896).
833:Noël, Édouard; Edmond Stoullig (1895).
814:Noël, Édouard; Edmond Stoullig (1894).
759:
275:Les Annales du théâtre et de la musique
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450:, 9e Ă©dition. Retrieved 3 August 2020
448:Dictionnaire de l'Académie française
105:Dictionnaire de l'Académie française
957:
195:Mme Pinchard – Élisa Louise Bilhaut
13:
255:Lucienne calls on RĂ©dillon at his
209:Source: Les Archives du spectacle.
179:Clotilde Pontagnac – Andrée Mégard
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915:(in French). Paris: Ollendorff.
242:Act 2 in the original production
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609:There's One in Every Marriage
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338:There's One in Every Marriage
377:, with Charon as Pontagnac.
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1038:Je ne trompe pas mon mari!
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167:First policeman – Colombet
164:Le Gérant – Émile Garandet
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1075:The Queen of Moulin Rouge
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909:Stoullig, Edmond (1913).
890:Stoullig, Edmond (1898).
760:Feydeau, Georges (2008).
517:, 15 February 1896, p. 13
143:Rédillon – Perrée Raimond
1204:Plays by Georges Feydeau
652:, 30 January 1975, p. 10
309:Revivals and adaptations
250:
233:
220:
170:Second policeman – Garon
152:Pinchard – Édouard Maugé
82:L'HĂ´tel du libre Ă©change
1107:La dame de chez Maxim's
1059:La dama de Chez Maxim's
583:Stoullig (1913), p. 206
574:, 3 January 1994, p. 24
538:The Manchester Guardian
526:Stoullig (1897), p. 241
434:Stoullig (1897), p. 248
215:
198:Armandine – Maris Burty
98:Théâtre du Palais-Royal
96:The play opened at the
61:Background and premiere
896:. Paris: Charpentier.
877:. Paris: Charpentier.
858:. Paris: Charpentier.
839:. Paris: Charpentier.
820:. Paris: Charpentier.
792:. Paris: Charpentier.
511:"The Drama in Paris",
396:References and sources
243:
155:Gérome – Émile Francès
132:Charles Constant Gobin
33:
1123:The Girl from Maxim's
1115:Keep an Eye on Amelia
1099:The Girl from Maxim's
1014:La Dame de chez Maxim
982:Champignol malgré lui
556:, 9 March 1961, p. 65
541:, 17 March 1959, p. 5
315:Théâtre du Vaudeville
241:
76:Champignol malgré lui
31:
1030:Occupe-toi d'Amélie!
764:. Paris: Gallimard.
502:Feydeau, pp. 226–227
493:Feydeau, pp. 224–226
327:Jean-Paul Roussillon
288:Occupe-toi d'Amélie!
261:in flagrante delicto
87:Maurice Desvallières
1173:Ernest-Aimé Feydeau
1139:Ă„ktenskapsbrottaren
1091:Take Care of Amelie
1067:Take Care of Amelia
1022:La Puce Ă l'oreille
990:Le Système Ribadier
628:Sauce for the Goose
342:Sauce for the Goose
301:observed in 1994, "
283:Philip Hope-Wallace
173:Lucienne Vatelin –
161:Victor – Louis Dean
93:was a solo effort.
79:(1892) and 371 for
681:An Absolute Turkey
383:another adaptation
354:An Absolute Turkey
244:
182:Maggy Soldignac –
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1155:A Flea in Her Ear
998:Un fil Ă la patte
771:978-2-07-041290-7
65:By the mid-1890s
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379:Jalil Lespert
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331:Alain Feydeau
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257:bachelor flat
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184:Alice Lavigne
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148:Gaston Dubosc
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111:Original cast
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375:Claude Barma
369:
365:The Dingdong
364:
358:off-Broadway
356:, 1994. The
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352:, 1980; and
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146:Soldignac –
117:Pontagnac –
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1050:Adaptations
683:, WorldCat
664:, WorldCat
630:, WorldCat
611:, WorldCat
566:Hall, Peter
386: [
371:A 1951 film
187: [
158:Jean – Mori
135: [
122: [
32:1896 poster
1199:1908 plays
1193:Categories
1131:The Turkey
806:– via BnF
401:References
299:Peter Hall
130:Vatelin –
1006:Le Dindon
921:172996346
902:172996346
883:172996346
864:172996346
845:172996346
826:172996346
798:172996346
762:Le Dindon
733:Le Dindon
718:Le Dindon
700:"Review:
689:820557034
670:627069780
649:The Stage
646:"Books",
636:560303152
617:317851270
595:Le Dindon
462:Le Dindon
392:in 2019.
323:Jean Piat
303:Le Dindon
267:Reception
91:Le Dindon
38:Le Dindon
786:(1893).
444:"Dindon"
348:, 1975;
344:, 1974;
340:, 1970;
808:Gallica
754:Sources
514:The Era
1158:(1968)
1150:(1966)
1142:(1964)
1134:(1951)
1126:(1950)
1118:(1949)
1110:(1933)
1102:(1933)
1094:(1932)
1086:(1931)
1078:(1926)
1070:(1925)
1062:(1923)
1041:(1914)
1033:(1908)
1025:(1907)
1017:(1899)
1009:(1896)
1001:(1894)
993:(1892)
985:(1892)
977:(1892)
919:
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843:
824:
804:Online
796:
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741:
735:(2019)
720:(1951)
687:
668:
634:
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53:dindon
966:Plays
390:]
381:made
251:Act 3
234:Act 2
221:Act 1
191:]
139:]
126:]
71:farce
43:farce
917:OCLC
898:OCLC
879:OCLC
860:OCLC
841:OCLC
822:OCLC
794:OCLC
766:ISBN
739:IMDb
685:OCLC
666:OCLC
632:OCLC
613:OCLC
216:Plot
737:at
45:by
1195::
782:;
446:,
388:fr
367:.
333:.
325:,
321:,
189:fr
137:fr
124:fr
89:.
951:e
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802:(
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774:.
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55:"
51:"
23:.
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