‘La Maupin: The French Abomination’ @ Prism Movement Theater
Photos by Evan Michael Woods, Pearl Creative Consulting, Chris Heimbaugh
—Rickey Wax
[We review the three-day opening run of La Maupin at Hamon Hall in the Winspear Opera House. Performances will resume July 25 at the Latino Cultural Center, and run through August 3.]
La Maupin: The French Abomination is one of the most convoluted, dazzling, and spectacular tragedies ever told. This show is full of love, sex, and rock and roll. Kelsey Milbourn takes on one of the most complex tasks of their career as the writer, director, choreographer, and lead actor of this 400-year-old love story presented by Prism Movement Theater. It’s the latest from AT&T Performing Arts Center’s The Elevator Project, now in its 15th season—an ongoing effort to provide support and exposure for new and emerging theater companies and artists such as Milbourn.
The world premiere of La Maupin is a daring and evocative production that brings to life the passionate and tumultuous true story of Julie d'Aubigny, a 17th-century French opera singer and duelist known for her audacious life and amorous adventures. This queer love story, rich with themes of sexuality and tragic love, is both a celebration and a lament, executed with artistic finesse by a stellar cast and crew.
The narrative of La Maupin examines the complexities of love and identity. The show kicks off with the audience witnessing a real-life sword fight brilliantly choreographed by fight coordinator Mitch Stephens. It feels like a scene from Gladiator: we are invited to chant along with the characters, and egg them on as they face off against one another. We then meet our protagonist, Julie d'Aubigny. Kelsey Milbourn’s portrayal of Julie is both fierce and vulnerable, capturing the essence of a woman who defied societal norms and lived unapologetically. The chemistry between Julie and her lovers is palpable; her many amours are portrayed with a rawness that is both tender and heartbreaking.
One of the most endearing relationships is with Anne (Carissa Jade Olsen). Olsen’s portrayal perfectly showcases a woman deeply in love yet tormented by the societal constraints of her time. Her expressive eyes and subtle gestures convey a profound depth of emotion, making Anne's journey both believable and heart-wrenching. My favorite moment between Anne and Julie is a dance shared while holding daggers. Beggin by Maneskin starts blasting through the theater, and the entire stage is bathed in red lighting.
Talk about a lovers quarrel—their chemistry is electric.
The members of the ensemble work splendidly with each other, and serve as the heartbeat that keeps this machine moving; the show is very well paced for a work that runs 80 minutes with no intermission. Ensemble standout Trey Estes takes on many roles throughout, and gives each character their own distinctive life, especially when he plays a weeping nun. The audience can’t stop laughing as he serves up some much needed comic relief. Did I mention a nun is set on fire in La Maupin? This show is a rollercoaster.
One of the most enchanting aspects of La Maupin is the inclusion of lyrical dances. Rather than relying on overt depictions of physical intimacy, director Milbourn chose to focus on the deeper spiritual connections. These performances are not just interludes but are woven into the narrative, enhancing the storytelling. The choreography is fluid and expressive, vividly capturing each character's internal struggle and desires. The choreography is exquisite, transforming key scenes into visual poetry. As if sword fighting wasn’t enough to keep us open-mouthed, Brevan Crawford’s performance as an aerial artist left many of us in awe. The dancing, paired with ethereal flowy costumes by Aaron Patrick LeClerk, serve as a visual metaphor for the ebb and flow of Julie’s relationships. This artistic choice adds a layer of beauty and sophistication, making La Maupin a truly multi-sensory experience.
The lighting design by Courtney Amaro, and the technical design by Jonah Gutierrez, are nothing short of masterful. Shadows and highlights accentuate the emotional undertones of each scene. One of the most mesmerizing scenes is the dream sequence. Using haze and dim lighting, the audience is transported into Julie’s dream, and we witness a beautiful dance sequence utilizing the entire cast.
During moments of intense passion, the stage is bathed in warm red hues, creating an intimate atmosphere. In contrast, scenes of conflict and despair are dominated by stark, cold lighting, underscoring the tragic elements of the story. In a particularly noteworthy scene Julie is at a party when the surrounding guests cry out “ABOMINATION!” and the stage lights up in lavender, a symbol of LGBTQIA2+ resistance. The lighting transitions are smooth, guiding the audience through the emotional landscape without distraction.
What truly sets this play apart from others is the mixed media of sound. The play is in French, and a projector is used to display subtitles for the audience. I was very pleased that Milbourn chose to keep the text in French—this adds authenticity, and allows us to experience Julie in her fullness. When Julie sings, a live opera singer is utilized (a beautiful voice) as another extension of language. At moments, actors employ American Sign Language; others lip sync (some do, some don’t which can be confusing, and a few lines are lost to the volume of the music). But on the whole, bold and brilliant choices are made to incorporate language at its most universal into the show.
La Maupin transcends the expected narrative of sex and lust, presenting instead a stunningly beautiful and profound exploration of love, identity, and artistry. The director’s visionary approach has transformed this queer love story into a theatrical masterpiece that is both emotional and visually breathtaking—and creating poetry with minimal dialogue.
My challenge to any audience member would be to think in the abstract when following the story. La Maupin is not linear, but that is its beauty. It’s clear that everyone gave their entire being to this production; the audience visibly was moved, and another queer icon has seen the light of day in Dallas, Texas. The final scenes, where love and despair intertwine, were particularly commanding, and implore us to embrace all the flaws that make each of us beautifully unique. La Maupin is an unforgettable theatrical experience and will undoubtedly linger in the minds of those fortunate enough to witness it.
WHEN: July 11-13 and July 25-Aug 3, 2024
WHERE:
—July 11-13 @ Hamon Hall (in the Winspear), 2403 Flora Street, Dallas
—July 25-August 3 @ the Latino Cultural Center, 2600 Live Oak Street, Dallas
