Gustave Courbet’s "Le Désespéré"


Alexandre Dumas, translated by Laurence Senelick
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“ANTONY is not a melodrama, ANTONY is not a tragedy, ANTONY is not a stage play. ANTONY is an acting-out of love, jealousy and anger in five acts.” —Alexandre Dumas (père)

Production Info

Cast: 14 total (6 female, 9 male, extras)
Full Length Drama (about 120 minutes)
Multiple Sets
Period Costumes

Press Quotes

“… the evening of the first performance of ANTONY in 1831. It was an uproar, a tumult, an effervescence … no exaggeration could describe it. The audience was delirious; they clapped, sobbed, wept and shouted. The young women were all hopelessly in love with Antony; the young men would have blown their brains out for Adèle d’Hervey. Modern love was admirably portrayed, with quite extraordinary intensity by Bocage and Mme Dorval: Bocage the man of destiny and Mme Dorval the susceptible woman par excellence. The burning passion of the play set every heart aflame … These are really characters speaking, and not the author, as is often seen today. Alexandre Dumas really has the impersonality without which there is no true playwright. He takes men and women, shoves them into a passionate action, makes them live, love, suffer, work, according the play’s fatality, but does not reveal himself.” —Théophile Gautier

“Our author, drunk on youth and vitality, tossed to the crowd, avid for emotion, ANTONY, whose vogue was a frenzy. Drawing-rooms were suddenly filled with crowds of young men with pale faces, bushy eyebrows, bony frames, long black hair, and eyes veiled by tortoise-shell spectacles.” —Eugène de Mirecourt

About the Author


  • Alexandre Dumas

    Alexandre Dumas, père, (born July 24, 1802, Villers-Cotterêts, Aisne, France—died December 5, 1870, Puys, near Dieppe), was one of the most prolific and most popular French authors of the 19th century. Dumas succeeded in gaining a great reputation first as a dramatist and then as a historical novelist, especially for such works as The Count of Monte Cristo and The Three Musketeers. His memoirs, which, with a mixture of candour, mendacity, and boastfulness, recount the events of his extraordinary life, also provide a unique insight into French literary life during the Romantic period. He was the father (père) of the dramatist and novelist Alexandre Dumas, called Dumas fils.

  • Laurence Senelick

    Laurence Senelick is Fletcher Professor Emeritus of Drama and Oratory at Tufts University. He holds a Ph.D. from Harvard. His expertise is in Russian theatre and drama, history of popular entertainment, gender and performance, history of directing, classical theory. Prof. Senelick is the author or editor of more than twenty-five books, the most recent being, The Final Curtain: The Art of Dying on Stage; The Crooked Mirror: Plays of a Modernist Russian Cabaret; Soviet Theatre: A Documentary History; Stanislavsky: A Life in Letters; The American Stage: Writing on the American Theatre (Library of America) and A Historical Dictionary of Russian Theatre. Others books include: The Chekhov Theatre: A Century of the Plays in Performance and The Changing Room: Sex, Drag, and Theatre, as well as over a hundred articles in learned journals. He is a former Fellow of the John Simon Guggenheim Foundation and the Institute for Advanced Studies in Berlin. Prof. Senelick was named Fellow of the American Academy of Arts and Sciences in 2011. Prof. Senelick has been named a Distinguished Scholar by both the American Society of Theatre Research and the Faculty Research Awards Council of Tufts University. He is the recipient of grants and awards from, among others, the National Endowment for the Humanities and the American Council of Learned Societies. He has received the Barnard Hewitt Award of the American Society for Theatre Research for The Chekhov Theatre; the George Freedley Award of the Theatre Library Association for The Age and Stage of George L. Fox and The Changing Room; and the George Jean Nathan Award for best dramatic criticism of 2000. He holds the St. George medal of the Russian Ministry of Culture for services to Russian art and scholarship, and is honorary curator of Russian theatre at the Harvard Theatre Collection. He was also awarded a stipend from the TranScript/Mikhail Prokhorov Fund for Translation from the Russian. In 2008 he won the Graduate Teaching award (doctoral level) of the Northeastern Association of Graduate Schools and in 2012 the Betty Jean Jones Prize of American Theatre and Drama Society for Distinguished Teaching. He is a widely produced translator of plays from such authors as Chekhov and Feydeau, and director at Tufts of his own translations of The Inspector General, The Bakkhai, and Anything to Declare? He has acted and directed with such organizations as the Poets' Theatre, the Loeb Drama Center, the Boston Lyric Opera, Boston Baroque, the Actors Theatre of Louisville, and the revue The Proposition. He recently devised new courses on Cabaret, Theatre and Visual Studies, and Low Comedy and played Beckett's Krapp's Last Tape at the Balch Arena Theatre. His recipes appear in the Bon Appetit cookbooks.

About the Book

Book Information

Publisher BPPI
Publication Date 5/15/2019
Pages 72
ISBN 9780881458251

Special Notes

Special Notes

Licensees are required to include the original stage producers credits in the following form on the title page in all programs distributed in connection with performances of the Play and in all advertising in which the full cast appears in size of type not less than ten percent (10%) of the size of the title of the Play:
The following must appear within all programs distributed in connection with performances of the Play:
Antony is produced
by special arrangement with Broadway Play Publishing Inc, NYC