A farsa clássica de Feydeau não é nova mas permanece hilária. Na crescente re-apreciação dessa deliciosa forma de comédia do seculo XIX, ela foi um sucesso na Paris do século XXI. "La Logique Absurde", como um crítico a chamou, começa quando Madame Chandebise decide prender seu marido suspeito enviando-lhe uma carta perfumada. supostamente de uma misteriosa admiradora que sugere um encontro no Hotel Pussy Cat. A esposa escolheu este local de encontro improvável porque acaba de chegar de lá um pacote endereçado ao marido, e ao abri-lo (por engano, é claro) descobre os suspensórios dele. Então as confusões, complicações, reviravoltas, papéis duplos e double sens (significados duplos) decolam deliciosamente. ( )

A wife suspects her husband of adultery when his appetite for her in bed abruptly diminishes, so she contrives with her friend to lure him to a hotel known for illicit meetings (the Hotel Coq d’Or, lol) to catch him in the act. Adding to the sex farce are two other couples and a family friend, some of whom have big libidos and play around. After a strong first act filled with double entendres and a fair degree of sexual freedom for 1907, the play degenerates into madcap chaos at the hotel. Feydeau makes use of a servant character who looks identical to the husband, as well as a bed in the hotel which rotates in from another room at the push of a button to add to the mayhem, and soon people are running all over the place confused about who’s cheating with whom. If some of that sounds familiar and you’re in Ingmar Bergman fan (e.g. the bed in ‘Smiles of a Summer Night’), well, Bergman was a love of Feydeau and was almost certainly influenced by him. It’s an amusing little read, but not much more. ( )