Noblewoman, and Physicist? “Emilie” Excels in all Aspects -The Fine new ArtsWest play about the academic you never knew about
By Michael Ligot
Behind every good scientific equation is a woman.
This is the eye-opening takeaway of the new play at West Seattle’s ArtsWest Playhouse. “Emilie: La Marquise du Châtelet Defends Her Life Tonight” brings us the story of the namesake 18th-century French noblewoman whose scientific research broke ground for our understanding of physics and astronomy. Playwright Lauren Gunderson’s work on this remarkable woman both fills in the gaps of your high school science education and an exceptionally involving stage show.
Emilie (Kate Witt) greets the audience from beyond the grave and attempts to work out for us if her life was lived correctly. As a young girl she very unusually received an education, but had to put it aside when she married a military officer. When her husband departs due to war, her intellectual curiosity re-ignites, and she manages to finagle her way into the world of salons, philosophical discourse, and other such activities, where women rarely entered.
In this rarified air, Emilie meets the legendary academic Voltaire (Nick DeSantis). Charged by a mental and physical attraction, the two dive into an affair that lasts even when Emilie’s husband returns. All goes well until a Voltaire writing ticks off one official too many, and he needs to flee Paris. Emilie volunteers a property outside the city, and Voltaire asks her to join him. There, the academic and physical sparks between them continue to fly … but not always in a good way. Add in a family that she’s neglecting, and Emilie’s conscience begins to torture her.
As an introduction to the Marquise du Châtelet, “Emilie” works wonderfully. I knew nothing about the real-life person before I walked into ArtsWest, and I was amazed at the academic insights the play credits her with.
The formulas and equations Witt’s Emilie writes on chalkboards during the show created a buzz in the opening night audience, and the payoff involving them at the final scenes finally got me to remember what my 12th-grade physics teacher was getting at. A conversation I had with playwright Gunderson after the premiere about the Marquise’s influence on later scientists made what she did all the more remarkable to me. How this woman has remained relatively unknown to the mainstream is a shame, and Gunderson’s play has me wanting to learn more about her.
Now, how does “Emilie” work as a stage show? Brilliantly.
The precocious Gunderson (just 29 years old) hits a nice blend of comedy and drama here. It’s difficult for a script to draw belly laughs from sharp dialogue and sight gags one minute and then absorbed silence from fiery conflict the next, but Gunderson pulls it off. The device of Emilie awakening from the dead at the start works nicely, especially paired with a number of monologues and the intense climax.
My only quibble was with the decision to have, on occasion, two actresses play Emilie in the same scene. For example, Emilie and Voltaire would embrace for a kiss, but then actress Witt would back away, and the younger Sara Coates (who, along with Jason Marr and Jody McCoy, plays a menagerie of supporting characters) would step in and complete the kiss. Though understandable at the times when the script called for Witt to address the audience during an Emilie-Voltaire smooch, overall it just struck me as awkward.
As for the acting? Director Susanna Wilson gets great work from her quintet of performers. Gunderson makes Emilie show more sides than a Dungeons and Dragons die, and Witt delivers. On stage for the entire play (and even the intermission; during the break Witt stays in character, writing formulas and paging through books), she projects an unwavering intellect and a fierce pride, but also a need for companionship and, sometimes, a yearning for a simpler life. Witt has full command of the character.
At first glance, DeSantis’ Voltaire comes across as a foppish goofball, and the actor does have fun with the best zingers in the script (c’mon, this is Voltaire we’re talking about here!). But when Voltaire needs to summon a dark side or show a little tenderness, DeSantis gets it done impressively. Special mention must go to Coates. Besides serving as a second Emilie, she gives two immensely powerful performances of minor but key characters near the end of both acts. I’m very interested to see what Coates can do with a leading role.
“Emilie” will give ArtsWest visitors an entertaining and thought-provoking experience. Fine script, impressive acting, and the re-introduction of an important mind into modern consciousness; not much is missing here. The Marquise can return to that good night proud.
Note: ArtsWest recommends this show for ages 14 and up due to adult themes (c’mon, this is Voltaire we’re talking about here!).
“Emilie: La Marquise du Châtelet Defends Her Life Tonight”
by Lauren Gunderson
at ArtsWest Playhouse and Gallery (4711 California Ave. SW, Seattle 98116)
206-938-0339; artswest.org
Now through February 20
Comments