Interview: 3 Questions with Andrea Donaldson of MAD MADGE at The Theatre Centre

Mad, bad, and dangerous to know…or was she? Margaret Cavendish, the historical figure behind Rose Napoli’s new play at The Theatre Centre, MAD MADGE, was one of the first English women to openly publish literary work under her own name, a luxury afforded her by her social position.

Known as a philosopher, dramatist, poet, scientist, and the writer of one of the first works categorized as science fiction, 1666’s The Blazing World, Cavendish attracted the attention of many, both for good and for ill. In a very contemporary manner, Cavendish combined her artistry with her scandalous behaviour to create a "brand," a persona that contrasted with what she described as a shy and even melancholy nature.

In Napoli’s play, a co-production between Nightwood Theatre and VideoCabaret, she seeks to give the artist her due in a mashup of period and contemporary content. The show also participates in deliberate counter-casting of roles, seeking to emphasize both the fictionalization of the story and that history is not nearly as homogenous as it is often portrayed on screen and stage, bringing traditionally ignored bodies, genders, and sexualities into the picture.

BroadwayWorld spoke to MAD MADGE director Andrea Donaldson about what audiences can expect from this collaboration, described as “paying homage to Jane Austen and Tina Fey in the same breath.”

BWW: What makes Margaret Cavendish such a fascinating figure, and what attracted you to Rose Napoli's take on her story?

DONALDSON: Margaret Cavendish was wild, bold, blunt and extremely shy. Her truly bizarre public mask made her brave. She was obsessed with making her mark on the world and knew that as someone who would never be listened to, that she would need to generate as much buzz about herself through her extreme public persona and theatrics in conjunction with her prolific body of work. Rose’s invitation to building a vivid world full of contradictions and joyful exuberance was irresistible.

BWW: What awaits audiences of Mad Madge? Without spoilers, what can we expect the world of the show to be like?

DONALDSON: By collaborating with the incredible dream builders at VideoCabaret, the visual world is utterly electric, playful and stunning. The actors are working together as such a tight, generous and hilarious ensemble. And, well, boobs.

BWW: How does the production handle the mashup of time periods? What are some of the challenges of depicting a collision between a famous historical figure and modern sensibilities?

DONALDSON: Honestly, it hasn’t been a challenge at all - it’s been liberating! Astrid Janson has an encyclopedic knowledge of period fashion to draw upon and the full design team has such a cheeky sensibility: there are anachronistic objects, fabrics, sounds and language that push up against the 17th century. We think Margaret would approve.

Mad Madge runs until April 21 at The Theatre Centre. 

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