Ericka Ratcliff, Tamberla Perry and Alana Arenas in "Marie Antoinette" (Steppenwolf Theatre Company)
"Liberté, égalité, fraternité" is just another meme in Steppenwolf Theatre Company's production of "Marie Antoinette." We're invited to think of the Enlightenment as the start of our unenlightened age. Seems like a daft notion, but then again how can rebels still see beheadings as all the rage?
The production starts with the Capet queen and her ladies-in-waiting decked out in wide-contour crinoline, but engaged in the idle girl talk of reality television: Marie Antoinette as Kim Kardashian. Alana Arendas has the task of reigning over a Moulin Rouge court, a pastiche that makes Antoinette only 1% aristocrat, or places her in the aristocracy of the 1%.
David Adjmi's play sets her in a tourist Versailles, a hall of scratched mirrors. It's not a vast palace but a small jewel box of family and friends, with not much to the lot of them beyond their aloof, over-the-top image. Louis XVI is not playing a delicate game of empire and reform. Tim Hopper's king is mostly distracted, the inheritor of the family business; his fall, a few convocation missteps. Axel von Fersen (Ariel Shafir) is a flirtatious count on his grand tour, not Rochambeau's aide in the march on Yorktown. There's not much revolution in this rarefied air.