Time Remembered (Leocadia)

by Jean Anouilh, adapted by Patricia Moyes

Walnut Street Theatre Studio 5
February 6 – March 4, 2018
Directed by Jack Tamburri

The Chateau and Estate of the Duchess of Pont-au-Bronc

Scene I: A Study in the Chateau. Late Afternoon
Scene II: A Clearing in the Park. Immediately afterward.
Scene III: The Study. The following morning.


Scene I: The Blue Danube Night Club. The following evening.
Scene II: Outside the Chime of Bells. The next morning.

Running time is approximately 120 minutes,
including one 10 minute intermission.

IRC Anouilh
Katherine Perry
Saxophonist/Footman/Taxi Driver/Germaine
Thomas-Robert Irvin
Duchess of Pont-au-Bronc
Tina Brock
Theophilus/Nightclub Singer/Innkeeper
Corinna Burns
Footman/Ice Cream Man/Ferdinand/Bee 1 & Bee 2
Paul McElwee
Lord Hector/Waiter
Bob Schmidt
Prince Albert
Ashton Carter

Costume and Set Design

Erica Hoelscher

Lighting Design

Maria Shaplin

Original Score and Sound Design

Elizabeth Atkinson

Stage Manager/Prop Master & Prop Construction/Board Operator

Mark Williams

Assistant Costume Designer

Jessica Barksdale

Technical Direction/Set Construction/Scenic Painting

Scott Cassidy & Michael Lambui

Photoshop Magic

Bill Brock


Johanna Austin / AustinArt.org

Additional Prop Construction

Alexandra Mosoeanu

Cover Art

Old French Fairy Tales (1920) by Virginia Frances Sterrett


Time Remembered (Leocadia) (2018)

REVIEW: Time Remembered Is an Elegant French Feast
“...an Elegant French Feast...a jewel of a show that is wistful, wry, and deeply touching…Idiopathic Ridiculopathy Consortium and its artistic director, Tina Brock, are masters of style...sentiment is consistently balanced with something more bracing and piquant...”
--by David Fox, Philadelphia Magazine
Time Remembered (Leocadia) (2018)

“...the IRC makes the absurd come alive in ways playwrights intended: in nonsense, we see meaning..."
--by Howard Shapiro, WHYY.ORG - Shapiro on Theater
Time Remembered (Leocadia) (2018)

“...enchanting production...Time Remembered works so well because of its comedic moments…”
--by Mark Cofta, Broad Street Review.com
Time Remembered (Leocadia) (2018)

“...charming...as the Duchess, a pitch-perfect Tina Brock…”
--by Toby Zinman, The Philadelphia Inquirer
Time Remembered (Leocadia) (2018)

“...Costume and set designer Erica Hoelscher has brilliantly used every inch of space to create the chateau, the inn, the taxi, the ice cream stand, the café, the park, by providing a single set with a dais in the back and six wings of trellis providing room for the props which the actors bring out in a rhythmic and entertaining dance for every change of scene…Tina Brock is her usual dynamo of boundless energy – full of the spirit of Anouilh’s gentle mockery and perfect in her timing.”
--by Margaret Darby, delcoculturevultures.com
Time Remembered (Leocadia) (2018)

“...director Jack Tamburri has a fresh interpretation for this exquisitely textured, absurdity-laced bittersweet romance.”
--by Mark Cofta, Broad Street Review.com
Time Remembered (Leocadia) (2018)

Director's Notes


February 2018
Jean Anouilh's Léocadia (the original French title of Time Remembered) opened in Paris in December 1940, during the city's occupation by Nazis. While Fascists controlled the streets and their censors read the plays, Anouilh's theatre remained resolutely apolitical (at least until early '44 when his sly Antigone interrogated the workaday rule-followers on whom totalitarians rely). Anouilh liked to call his romantic comedies -- of which Léocadia is assuredly one -- pièces roses or "pink plays," emphasizing their frivolity and spectacle. But buried in the frivolous Léocadia is an exhortation to eschew nostalgia and face facts (the facts of winter 1940 being particularly urgent and particularly dire). Anouilh, however, was incapable of stating one point of view without almost immediately proposing its opposite. So even as Léocadia's characters implore one another to "forget the past," they always wind up reminding us that the arch and artificial old world also valued beauty, and that we shouldn't forget that.

Reconstructing Anouilh's complicated romance has been a welcome challenge. The arcane task of staging peculiar midcentury images within a modern theatrical idiom -- the game of being simultaneously classical and lively -- gave us all a little break from the exhausting reality of our social moment. In our church-basement workshop and now our fifth-story black box, we have done our best to polish up Anouilh's paradoxes: the coexistence of the cartoonish and the thoughtful, the dusty and the modern, the funny and the sad. As ever, we are grateful that you have chosen to spend your time and money on our performance and we hope that your experience of this frivolous and dire play is one you enjoy.

--Jack Tamburri