The Waltz of the Toreadors

The Waltz of the Toreadors (La Valse des toréadors) is a 1951 play by Jean Anouilh.

This bitter farce is set in 1910 France and focuses on General Léon Saint-Pé and his infatuation with Ghislaine, a woman with whom he danced at a garrison ball some 17 years earlier. Because of the General's commitment to his marriage, the couple's love remained unconsummated. Now faced by the reality of retirement with his hypochondriac wife, the General finds himself lost in fond memories of his old flirtation. When Ghislaine suddenly reappears, he is delighted — until he finds himself competing for her hand with a considerably younger suitor.

The General and his mad wife had previously appeared in Anouilh's 1948 play Ardèle ou la Marguerite, and a further variant on the character appeared in the 1958 comedy L'Hurluberlu, ou le Réactionnaire amoureux. By the time of Anouilh's last play, Le Nombril (1981), Léon St Pé had transformed into a grouchy and unfashionable old playwright obviously intended by Anouilh as a cynical self-portrait.

The Waltz of the Toreadors premiered in Paris at the Comédie des Champs-Elysées on 8 January 1952, with Claude Sainval and Marie Ventura in the leading roles. Four years later, it premiered in London in an English translation by Lucienne Hill. Directed by Peter Hall, the production opened at the Arts Theatre on 24 February 1956, then transferred to the larger Criterion Theatre on 27 March. The cast included Welsh character actor Hugh Griffith as the General and Beatrix Lehmann as Mme St Pé, with Brenda Bruce as Ghislaine and Trader Faulkner as Gaston. For part of the Criterion run, Renée Asherson took over as Ghislaine.

"This is an extraordinary work," claimed T C Worsley in the New Statesman. "It is at the same time wildly comic and savagely cruel; it moves with a virtuoso's freedom up and down the emotional scale from pure farce at one extreme to real pathos at the other. There are scenes of pure horror and there are scenes of pure comedy, and M Anouilh modulates between them with an absolutely sure touch." According to the News Chronicle, "the play, though deplorable, is a bit of a masterpiece." "This farce," added The Times, "has a bitter, some will say sour, flavour, but even those who resent its hard realism will be highly amused in spite of themselves, for a resourceful wit is supported by a brilliant sense of the theatre."

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