Thieves' Carnival: A Play In Four Acts

by Jean Anouilh, Lucienne Hill (Translator)

Written by Jean Anouilh when he was in his early twenties (1932) and produced in Paris as "Le Bal des Voleurs," it was the first Anouilh to be a hit in New York when presented Off-Broadway in 1955. A romantic vaudeville that says only illusion makes life possible.

Genres: Plays

71 pages, Hardcover

Published January 1, 1952

About the author

Jean Anouilh was a French dramatist and screenwriter whose career spanned five decades, producing works that ranged from high drama to absurdist farce, though he is best remembered for his 1944 production of Sophocles’ Antigone, which, despite passing censorship, was widely interpreted as a critique of the Vichy regime. Born to a tailor father and a violinist mother, Anouilh absorbed the theatre from an early age, attending rehearsals and reading scripts, and began writing plays at twelve. The family moved to Paris, where he attended the Lycée Chaptal and briefly studied law at the Sorbonne before leaving to work in advertising. Early in his career he wrote comic scenes for cinema and worked as secretary to director Louis Jouvet, whose mentorship and the influence of playwright Jean Giraudoux inspired Anouilh to pursue theatre seriously. He debuted with collaborative and solo plays such as Humulus le muet, L’Hermine, and Mandarine, which, though not commercially successful, led to greater recognition with Le voyageur sans bagage in 1937. Anouilh developed distinct categories for his plays, including pièces noires, or tragedies like Antigone, exploring moral integrity against compromise; pièces roses, comedic works emphasizing fantasy and freedom; pièces brillantes, witty plays set in aristocratic environments; pièces grinçantes, darker, ironic comedies; and pièces costumées, historical dramas such as The Lark and Becket, highlighting protagonists pursuing moral paths amidst corruption. His later works, often called pièces secrètes, focused on dramatists and theatre professionals, emphasizing family and intimate relationships over conventional theatrical action. Politically, Anouilh remained largely apolitical, serving in the French Army and living under German occupation, his plays often interpreted as ambivalent reflections on resistance and pragmatism. Critically, he was recognized for blending lyrical language, precise dialogue, and structured plots, producing a prolific output for over fifty years, and winning accolades including the Prix mondial Cino Del Duca, consideration for the 1962 Nobel Prize in Literature, and the inaugural Grand Prix du Théâtre de l'Académie française. His works continued to be performed internationally, balancing existential concerns, moral dilemmas, and humor, reflecting a nuanced perspective on human nature. By the end of his career, he had influenced French theatre deeply, navigating between realism, comedy, and tragedy, and remained a vital figure in twentieth-century drama until his death, leaving a legacy of plays that explore the tension between idealism and compromise, the demands of conscience, and the pursuit of integrity in a flawed world.

Reviews

[Sketchbook · Rating 5 out of 5]

Hellzapoppin' from Jean Anouilh? Yes, this is it--. A jolly masquerade show in which three would-be robbers at a spa, not unlike the 3 Stooges or the Marx Brothers, wear many disguises on the boardwalk and seek to relieve the grand Lady Hurf of her gems. But she gets to pull their strings like a puppeteer. Bored - and worn - "as an old carpet," she mistakenly thought for 60 years that life was a serious affair -- and it isn't. Now she wants some fizz. The tricksters promise escapism.

Then, there's Love -- or a facsimile thereof, no one can tell the difference or wants to. Milady's niece is just nutsy over the youngest thief who must now "play" the required romantic role or her illusions will be dashed. Love always demands that we play a part. But what if we're miscast or don't have the right mask? Illusions are needed to get through life, says Anouilh, so hang on to them.

In the mid 1950s, this was the first Anouilh, written in his early 20s, to have a success in New York. (It was produced Off-Broadway). Role-playing provides a framework for a vaudeville that critic Eric Bentley called, "A slight masterpiece...for charm and wit one of the best plays of the last quarter century." Pirandello meets Marivaux.

[Scott · Rating 5 out of 5]

A romp.

[Hope · Rating 4 out of 5]

I had to read this play because I will be working on it when I go back to school. It is one I acquired from a professor who needed to trim down his collection, and when my scene partner and I needed a piece I decided to look through it. I'm not sure I would have read it for fun, but I'm glad I had to because it was a delightful piece.
The translator did well in keeping the humor that I believe Anouilh inserted into the original piece. The characters have many opportunities to showcase the heart of the character, but to also contribute to the overall comedy of the situation. The dialogue is not overly florid and easy to read and follow which is something I always look for in a translated piece.
There was a nice balance of physical comedy, clever word play, with heartfelt moments that allowed the play to feel effortlessly charming. Many of the characters frequently addressed their own faults which made their situations more endearing. Overall I was really delighted with the story and how everything was tied up.

[Bt · Rating 3 out of 5]

Review: This play is a farce with very far-fetched situations. At times it was definitely funny, but at other times the events were so ridiculous that it was hard for me to be invested in the plot. I thought a lot of the dialogue was rather week, though there were some pretty good scenes too. In general, I have some trouble reading farces because so much of the comedy is in the physical action; it’s like it’s hard for me to tell if it’s funny until I see people do it.

Cast: 9 men, 5 women (Peterbono, Hector, Gustave, Lord Edgard, Lady Hurf, Juliette, Eva...)

Summary: This is a play about three bumbling thieves who disguise as foreign noblemen in order to rob a house.

Scenes: Juliette talking to Eva about whether she’s also in love with Gustave, Gustave robbing Eva

Monologues: Juliette professing her love for Gustave, Gustave talking about why he’s going to rob the house, Lady Hurf talking about the life of a non-romantic

[E7boehm · Rating 3 out of 5]

rather melodematic good play overall like bittersweet and silly but heart warming ending