It's February 1848. Into his country study, with bits of hay in his hair, disheveled Alexandre Dumas (for whom Francis Perrin seems a dead ringer) drags his massive presence and opens the window. Neat, rather austere Auguste Maquet, Dumas' collaborator/ghost writer, rises from the desk and gets his coat. Different in so many ways, Dumas sits by the window, takes off his jacket, opens a globe, takes out bread and pate, and eats. Quiet, retiring Maquet (played with authority by gaunt Thierry Fremont) writes plot and suggests characters. "Voila, Monte Cristo!" he exclaims over the manuscript. Dumas dictates specific details that make action and those who act come alive. He acts out parts of the "parts," asks Maquet to read back some passages and okays or edits them, and resolves Maquet's questions about a scene between son and father. There's excitement and then...the men discuss finances. Despite being at an apex of popularity with his writing, Dumas is spending too much money. A letter from his wife has brought more word of money troubles. Maquet is obviously aware -- and disapproving -- of them.
In bursts uniformed Mulot, announcing the abdication of Louis Philippe. "Is it possible?" Maquet wonders. Dumas begins dictating a letter to the people of Paris, whence he must go. Maquet speaks of the change as a coup d'etat which, along with his talk of power, Dumas finds incredulous. There'll be a change, all right -- in the two men's relationship. With crisis as climax, Dumas and Maquet are ready to part company, literally.
In their showdown (electrifying as only two great actors can sustain), each claims primary right to the works "signed Dumas." They shout, insinuate, threaten, insult, alternate control of the manuscript on the desk. Maquet asks for his money immediately. He has papers to back his claims. Dumas gets hot (as, huffily, does Perrin), cites the heart he has brought and that only he can bring to authorship. This is a war he's sure he can win. Will he? Will Maquet's dosiers stand up against the "monument" that is Dumas. Will the fact that Maquet wrote a book successfully before he met Dumas work for him? Still, it is Dumas who signed the touted books.
This intriguing clash offers propositions and performances that satisfy. If you see or intend to see this drama, I'm sure you'll want to research Maquet. Also to keep your eye out in the future for more work by the two young playwrights.
