Marie Antoinette Unveiled: Tufts' Theatrical Gem Blends Historical Opulence with Modern Intricacy

By: Julie Do

In a transformative journey through time, Tufts University's Balch Theatre became the canvas for an audacious and oddly insightful portrayal of the infamous Marie Antoinette. Directed by Noe Montez, this unique production unfolded from October to November, showcasing the collaborative talents of Tufts students. The play, a creation of David Adjmi, delves beyond the historical facade, inviting audiences to reimagine Marie Antoinette, played by Tess Kaplan, in a modern light. The main cast also includes Wylie Doak as Louis XVI, David Palamar as the lamb, and Sam Dieringer as the guard.

Transporting ourselves back to the 17th century feels like navigating an alien landscape, devoid of the familiar contemporary language that peppers our conversations today. Envision a world where people converse with pomp, stifled laughter escapes through rigid lips, and dismissive waves punctuate social interactions.

Now, consider the prospect of reimagining Marie Antoinette, a historical figure entrenched in the past, as a modern individual complete with the sass, wit, and idiosyncrasy of a modern millennial. And there you have David Adjmi's spin on “Marie Antoniette,” offering an ostentatious yet deeply compelling glimpse into the heart of royalty itself.

Marie Antoinette, a name ensconced in the glittering tapestry of luxury and a political figure entwined in controversy and opulence. Her life, a labyrinth of political responsibilities that often left her bewildered, maligned by her own people, and her legacy reduced to the grand prize of her own head. Yes, that Marie Antoniette.

David Adjmi skillfully delves into a narrative that transcends the historical account of Marie's reign over France. Instead, it evolves into a profound exploration of the intricate nature of her character, tracing her inexorable descent into a vortex of instability. It's a nuanced equilibrium of humor, historical reflection, and tumultuous affairs that renders the play exceptionally effective in telling Marie’s story.

What elevates the play is its capacity to surpass the superficial narrative. Yes, we know Marie Antoinette's reputation as a neglectful and inconsiderate queen, fixated on opulence rather than the welfare of her people. How does the playwright skillfully extend this narrative? By endowing Marie Antoinette with a sense of humanity.

The idea of assuming the role of a queen at the tender age of 19 is presented as a concept that we find both intriguing and, frankly, incomprehensible. If we were to pluck a 19-year-old TikToker and thrust them into the realm of monarchy, the inevitable chaos that would ensue becomes all too vivid.

At 19, individuals often make imprudent decisions, and without adequate guidance, situations can quickly spiral out of control. What adds an intriguing layer to the play is the depiction of Marie Antoinette's young adult demeanor, marked by a reluctance to acknowledge her mistakes. It just so happens that she was in the limelight.

The narrative's descent into a vortex of instability, the audience's evolving empathy for Marie, and the nuanced exploration of power and youth dynamics find expression in the meticulously orchestrated shifts in stage scenery. Initially bedecked with an overhead sign bearing the regal insignia "Marie" amidst an abundance of glitter, the scenic evolution mirrors Marie's early life as a queen—characterized by glamor and luxury.

As the storyline progresses, the stage undergoes a metamorphosis in tandem with Marie's burgeoning responsibilities. This transformative process signals a turning point where the initial glamor begins to disintegrate, both metaphorically and physically. The stage itself, once adorned with excess, gradually erodes until all that remains is the stark presence of Marie against the bare backdrop.

Navigating the waters of modernization in theatrical production is a delicate art—striking the right balance between subtlety and excess becomes paramount. The tone of "Marie Antoinette" maintains a consistently modern and contemporary flavor–whether that be jargon or stage design– a choice that harmonizes seamlessly with the overarching narrative.

Simplicity, at times, proves to be a powerful ally, an aspect occasionally overlooked by Tufts Theatre Production. Instances like the insertion of baroque piano solos featuring songs like "Barbie" and "Money" by ABBA in between set changes, while ambitious, can occasionally veer towards a discordant note.

Nevertheless, the prowess of Tufts' student actors undeniably illuminates the production. Tess Kaplan's rendition of Marie Antoinette is nuanced yet profoundly impactful, skillfully navigating the character's journey from initial denial to the depths of emotional turmoil. However, the lion's share of character development appears to be channeled into Marie Antoinette, leaving the portrayal of other characters feeling somewhat exaggerated and, at times, lacking depth.

Take, for instance, Louis XVI's character, portrayed by Wylie Doak—a depiction of an adult child showcasing infantile and whiny tendencies. While this mirrors historical accounts of Louis XVI's life, where he is described as lacking confidence and maturity, the play tends to amplify this "lack of confidence" to an extreme, delving into excessive whiny body humor that occasionally feels overdone. In such moments, a return to simplicity could serve the production well.

In the closing act, the spotlight converges on Marie Antoinette herself. The recurring character "the lamb," played by David Palamar, guides her through her own emotions and internal conflicts. Confronted in her prison cell, where the real Marie Antoinette spent 76 days, the lamb tells Marie to wake up and confront reality, a feat that she did not accomplish in life until the very end.