Although the adaptor has moved the action of the play into the twentieth century (which serves to heighten the sexual allusions which make the play so hilarious), the action follows the pattern of the famous original: a complex series of mistaken identities, clandestine assignations and misplaced but explosive jealousies—all happening at breakneck speed. In this case things begin to go awry when Victor Deboshe, a middle-class insurance salesman, becomes impotent, leading his wife, Yvonne, to assume that he has taken a mistress. To test his fidelity she has her friend Lucille write an anonymous letter to Victor, claiming to be infatuated with him and proposing a rendezvous at the notorious Hotel Pussy a Go-Go. Thinking a mistake has been made, Victor persuades his friend Maurice (a famous womanizer) to keep the appointment for him, after which the complications begin to multiply uproariously. Eventually, as must be, things are somehow untangled and set right, but not before the action has expanded to include a violently jealous husband (a hot-blooded Spaniard), a suicidal leap from a window, a nephew with an unfortunate (but hilarious) speech defect, a furious Indian fakir and a lascivious butler, all tumbled together into a riotous medley of slamming doors, revolving beds and wildly amiss gun shots—all of which will leave audiences happily breathless from laughter.
An up-to-date and explosively funny version of Feydeau's classic farce, which retains the antic, pell-mell humor of the original while making the people and the action of the play pertinent to our own times. First produced by Chicago's Goodman Theatre, the play has become an established favorite among the nation's leading regional professional theatres. "…completely invigorating, stylistically polished and robustly buoyant…compelled the audience to roar in laughter until tears rolled down many cheeks." —Chicago Defender. "…brilliantly transported to the mid-1960s by Frank Galati…" —Chicago Daily Herald. "Absolutely hysterical." —WXRT-FM Radio.