To those who worry that women on stage might not be at least as funny as men or queers: relax. Mathilde Monnier and La Ribot top them all. They dissect the classical farce as we know it from films by the likes of Peter Sellers, Jacques Tati and Charlie Chaplin: “We have come to realise that the typical features that are showcased in a farce are usually concealed in dance.” That certainly isn’t the case with Gustavia. In their legendary hilarious travesty brimming with energy, Monnier and La Ribot use body language to pose the serious question of whether art is still capable of having an impact on society.
