Babette’s Feast--More Like a Famine

By Joseph Cervelli

In the program of the new play “Babette’s Feast” at the Theatre at St. Clement’s it is noted twice that the work written by Rose Courtney is based on the short story by Isak Dinesen and not the film. While I never read the book, but have seen the film many times and consider it a masterpiece covering so many topics, it is still difficult for me to think that Dinesen’s story would lack the beauty and contain the silly humor that is inherent in this greatly inferior interpretation. And that inferiority is evident in both writing and most of the performances. 

Directed more as a comedy by Karin Coonrod in a film adapted from the book it contained  subtle comedic moments that are now missing.

The book unlike the film which took place in Denmark is set in a small village in Norway in the 19th Century. The townspeople are very pious and luxury of any kind is looked down upon as an affront to their religious beliefs. Simplicity in life whether in their clothing or cooking is a necessity. The story centres around two sisters Martine (Abigail Killeen) and Philippa (Juliana Francis Kelly) who live together with their father until his passing  is a Protestant pastor. Through too much exposition from fellow cast members we learn about their youthful days (would have been more authentic if both young actresses were made to look a bit older when the play begins) when Martine is wooed by the dashing cavalry office Lowenhielm (Jeorge Bennett Watson) but marriage is out of the question knowing  her duty is to remain at home with her sister and father. Philippa with her beautiful voice could have been a famed opera star and is encouraged by the famed French opera singer Papin (Steven Skybell) to consider what could be an illustrious career. She, too, out of propinquity declines. 

The gist of the story is when a once famous chef from a renowned French restaurant  Babette (Michelle Hurst) becomes a refugee after her family is killed in a French counter revolution and she makes her way to Norway where she works for them free as a housekeeper and cook..While staying with them for many years she wins a lottery before and before considering back to France decides to make them the dinner she was famous for when she was the chef. 

The essence of what makes the story so appealing is how it transforms people and their beliefs over a period of time. I am sure the book and most definitely the film's filled with moments of humor and beauty combining kindness and harshness of life.  It delved into dedication and  devotion to what they believe to be their course in life. 

Sadly, the play conjures up none of that. Courtney has incorporated absurdly inane  moments with male actors overacting as females. Tender scenes especially when Babette receives the lottery ticket  should have be treated as a euphoric moment but is done in such a foolish manner with neighbours looking through their windows at her. 

Except for Kelly and Killeen who are quite good despite the poor adaptation,  the other performances are weirdly out of place. Not sure what Coonrod was thinking having them adapt such bizarre accents. Playing a multitude of roles one  actor sounds like someone from the deep south, another who isa mail carrier sounds  like he is from “Our Town”  and Watson speaking beautifully as the officer one moment and then in a crudely stereotypical less educated African-American accent as one of the village’s inhabitants proves almost offensive.  

Worst of all is the poorly conceived Babette as woefully played by a dour and expressionless Michelle Hurst. Babette is a shy woman who is uncertain of  new environment but has a firm but quiet dignity. There is a distance between her and the two sisters that eventually changes ever so slightly. Yet, here there is no connection between the three women. Hurst plays Babette with no emotion and even the scenes where she is preparing the food (only the elaborate set table is shown) should be done with such delicacy and exuberance  but that is non existent in this production. When the pivotal moment in the play should be the radiant expression of giving that she bestows on the two sisters when the food preparation is completed is all but lost so is the play. 

The entire production is misconceived which will bring  those who love “Babette’s Feast” to a state of anguish. 

Photos: Carol Rosegg

Tickets are available at The Theatre at St. Clement's 423 West 46th Street or by calling 212.239.6200.