Mayhem rules! A spellbinding ‘Marie Antoinette' and ‘Murder for Two’

When a play leads you to immediately Google its title subject it’s a tribute to both playwright and director — and a sublime cast. It led me to look up “Marie Antoinette,” hungry to know more about the short, tragic life (1755-1793) of the beautiful, imperious young Austrian teen whose arranged marriage to the French Royal who became King Louis XVI possibly contributed to the French Revolution.

David Adjami’s “Marie Antoinette,” which transferred to the intimate Soho Rep Theatre after a pair of hailed out-of-town runs last fall, is, arguably, the most fascinating, memorable play of the new season. Not having seen the two reportedly far more lavish productions I also venture to say that less can be more — taking us into the heart of history. On the long, narrow (12-foot x 22-foot ) Rep stage, with only a huge banner on a white stage wall proclaiming “Marie Antoinette,” there are a few well- placed chairs where the Queen holds court, benches stage right and left where the players sit when they’re out of the action — and, as the play opens a few trays on stands filled with lush pastries — but we get the picture.

Adjmi’s script draws us into the provocatively lavish world of an impetuous, beautiful adolescent (Marin Ireland) whose misfortunate marriage to a dull, child-like monarch, also rumored to be impotent, led her to create an ostentatiously elaborate life style — with wardrobe to match: first admired, then reviled when France’s financial fortunes plummeted. By the time the ruling family was deposed and imprisoned in 1792, Marie had been dubbed “Madame Deficit” for her lavish spending in famine times. Her beheading, months after her husband’s execution was cheered.

The cheers for Ireland’s rich, gripping portrayal of Queen Marie are all positive: Ever loyal to her Austrian roots, an unhappy teen rebelling against the restrictions of her royal role — with a veneer both selfish and spoiled covering a heartbreakingly lonesome young woman trapped in the gilded cage of her destiny — Marie’s woes were compounded by her bad marriage, and a lost child. Evoking our sympathies for this dutiful daughter, caring mother and frustrated wife we are both fascinated and repelled by Ireland’s Marie; But never bored with her.

When the lights go up on the long narrow stage, the gorgeous nubile, blond queen, costumed in flowing red silk, is being offered delicacies from the pastry — which she shares with her small court of friends. Marie is already in a dither that her new husband has not turned out to have the qualities appropriate to a royal. His docile manhood has refused to rise to the occasion to plant an heir in his queen. Brilliantly played by Stephen Rattazzi, Louis XVI is not evil — or pitiable — just churlish, petulant, dim-witted and ineffective Other members of the court dance attendance on Marie — but the First Act is her show as she tries to keep up pretenses, and refuses, while the fortunes of France crumble like stale bon bons — to do the same.

Other standouts in the glowing ensemble cast include Jennifer Idid as the King’s sister and Marie’s faithful, closest confidante, David Greenspan as a sheep must be seen to be appreciated, Karl Miller as Marie’s Royal Austrian Brother, Chris Stack as attractive ( including to Marie) family friend Alex Ferson and Aimee Laurence, terrifically poised as the young Dauphin.

Rebecca Taichman’s direction is flawless, made difficult by a too-long explanatory Second Act which stuffs the events leading to the Royal couple’s death among the evening’s most searing potent moments when Marie Antoinette’s wigs are viciously torn from her head stripping the queen of her very sense of self.

“Marie Antoinette” was extended through Nov. 24. If you want to revel in a history lesson writ large with wit, style and most memorable substance — wend your way just below Canal Street to the Soho Rep, 46 Walker Street. Tickets now at (212) 352-3101 or sohorep.org. Worth seeing twice!

‘Murder for Two’

Each of us comes with our own theater “taste buds.” With so much to recommend this critic rarely takes the space to say “It wasn’t my cup of tea.” (that’s a clue!)

But for those who enjoy silly slapstick, performed by a team of terrific actors who are also virtuoso pianists, and specialize in daffy no-holds-barred comic mayhem —“Murder For Two” may be just the tonic to take the chill out of winter.

With a book and music by Joe Kinosian and book and lyrics by Killen Blain, the two goofy stars of this 90 minutes of maximum confusion are the hardworking (and loving it) showmen Jeff Blumenkrantz and Rhett Ryback The duo play a naïve would-be detective (Ryback) who investigates the death of a wealthy eccentric — with all of the myriad suspects played by a rubber-faced Blumenkrantz. The latter changes identities like some people change their minds — performing as a variety of eccentrics of various genders. Director Scott Schwartz ably directed traffic — no easy feat.