At a rapid one hour and forty minutes without intermission, “Ubu Roi” (King Ubu) begins by introducing us to Father and Mother Ubu who look like they just arrived from a slightly lewd Pepperland.
With a push from Macbeth, Mother seduces a reluctant Father to move beyond his minor kingdom to take over Poland by means of a conspiracy to repeal (kill) and replace the king.
The interplay between the two -- silly, seductive and suggestive -- is outrageously performed by Gabrielle Adamo and David Raccio whose demeanor matches their grotesque costumes.
Raccio’s reaction to the prospect of taking Poland is a revolving door of panicked cowardice, avarice and emboldened resolve. And he continues these about-face moments throughout the play to great comedic effect.
I must mention here that although this is a French play first produced in 1896, Alfred Jarry’s script is completely accessible, not in the least stilted or difficult to understand. It seems written in a contemporary voice.
Drunk on the power derived from his successful coup and a bottomless desire for wealth, Ubu begins a campaign to eliminate the aristocracy, financiers and the judiciary. No, there was no free press to attack him but I’m sure that would have been on his list as well.
Mother Ubu, suddenly fearful these actions might create more enemies, tries to stop Ubu's single-minded slaughter. Ubu even jails his co-conspirator, Captain Bordure (a stalwart Michael Poyntz), thus furthering the action.
This brief explanation may sound a bit dry, but let me assure you this production is anything but. The constant swirl of activity by a wildly talented cast grabs your attention and keeps you more than entertained.
I wish I could name all the actors and their many roles but there is neither room nor time.
Suffice it to say the ensuing fights, battles and murders are all done with mind-boggling physical wit as actors come and go at a dizzying pace. Differing characters are so clearly delineated, the audience is never lost.
The scenic and light design (Curtis Dretsch), costume design (Alisa Sicker Kleckner), and fight choreography (Michael G. Chin) are all up to the excellent standards one expects from a Muhlenberg production.
And, of course, Francine Roussel’s direction makes wonderful use of her extensive background in the theater, demonstrating how an old play can breathe new life into the theater and reminding us of what a threat it is to be led by a dangerous clown.
“Ubu Roi,” Feb. 21-25, 2018. Trexler Pavilion for Theatre & Dance, Muhlenberg College, 2400 W. Chew St., Allentown. 484-664-3333.