ACTOR 1: That’s a bit risky. If Passepartout is in cahoots with Fogg, one word from him can ruin everything.
FIX: True. I shall employ that plan only if everything else is failed.
ACTOR 1: Everything else has failed.
FIX: Yes, I know. And who’s this woman Fogg’s traveling with? Obviously they met somewhere between Bombay and Calcutta. But where? And how? And why? And what?… No… Not what. Just who, where and why. Just those three. Possibly how.
ACTOR 1: Perhaps you should just concentrate on Mr. Fogg. There is not much time left.
FIX: Yes I know. I don’t know what to do.
ACTOR 1: Looks like you’ll have to follow him to America.
FIX: Would you please leave me alone?
ACTOR 1: Because if you don’t, he’ll get away and everything everyone will think you’re a big failure.
FIX: Would you get…! Yes I know! I have to follow him to America! Just get out of here!
PASSEPARTOUT: Well Monsieur Detecumahfix (sic), have you decided to go with us to America?
Thus goes the rapid-fire dialogue spoken by three of five actors who portray up to 35 separate roles collectively in Mark Brown’s fairly comprehensive and surprisingly respectful retelling of Jules Verne’s classic adventure novel Le tour du monde en quatre-vingts jours (Around the World in 80 Days). There is no deeper meaning to the text or high art in the language. The “art” is in the direction, mastery of movement and dialect, and creativity of costumers and props masters. Well-played, audiences will be entertained, hopefully stunned, and definitely exhausted by the virtuosity of the company. This play calls for a heavy-hitter creative ensemble. All scenes must be played not only with timing, but most especially integrity. Without these, the work will deteriorate into incomprehensiveness. That distinction accomplished will be the difference between a company that “is having a good time” and one that awes its audience.
Cast: 5 men / 1 woman (flexible to 35 actors, but not as fun or challenging). Age is irrelevant.
Set: Several very versatile props
Costumes: Quick change Victorian costumes (33?)
Royalties: $75/performance (educational rights. Professional rights, negotiated)
Pros: no set/ basic props become all places; a recognizable title; fits in any space; small/flexible cast; boffo physical comedy
Cons: Some mixed reviews for occasions of possibly plodding narration; several quick change Victorian costumes (33? Expensive rental?)
Censorial concerns: Caucasians actors portraying potentially stereotypical Southeast Asian characters, and three very quick, silly instances of substituting the word “piss” for “peace.”
Mark Brown, playwright
- Outstanding Musical of the 2008 New York International Fringe Festival (China – The Whole Enchilada )
- Received his acting training at the American Conservatory Theatre
- Premiered at Utah Shakespeare Festival
- Produced around the world: from Off-Broadway twice, all across the US, Canada, England, South Africa, Turkey, India, Bangladesh and has been translated into Turkish. It has even been produced in the Himalayas
Recommendation: STRONG with light caveats (costume costs, potential for slap-dash execution, caution for Caucasians portraying Southeast Asian characters). Strong name recognition. The setting is not NYC (but just about everywhere else). A great production will entertain and WOW your audience.
To be fair:
Search YouTube for “Around the World in 80 Days by Mark Brown” and you will see several concepts.
Available for lending from Columbia College Library, Chicago, IL