The Baker's Wife

The Baker’s Wife is a little-known musical based on the 1938 French film, La Femme du Boulanger, by Marcel Pagnol and Jean Giono. It premiered in the West End in 1989 for a short run but has not been produced on Broadway. It was subsequently seen in a number of regional theatres in the States, and in Australia. In May 2024 it was staged at the Menier Chocolate Factory in London. 

As well as the story of a baker and his wife, it is also a tale of a little French village at war with itself, the residents occupied with petty squabbles – a gardener whose neighbour’s tree is shading his vegetable patch, the local priest and the schoolteacher arguing about whether Joan of Arc really did hear voices. Adding to the tension is the fact that the village has been without bread since the previous baker died and we all know about the French and their love affair with bread!

The arrival of a new baker Aimable (Andrew Blagden) with his considerably younger, pretty wife Geneviève (Gemma Bowden) is a cause for rejoicing and confusion, his wife being mistaken initially for his daughter! But they and their (invisible!) cat Pompom are welcomed with open arms and they set to work with enthusiasm, the smell of fresh bread on the first morning almost tangible. We gradually learn about the village characters and their niggling disputes. The avuncular Marquis (David Dray) sweeps in and out with his attractive “nieces”, reminding me of a benevolent Hugh Hefner and his Bunny Girls. Enter, too, his handsome young handyman Dominique (Ben Dray) who immediately takes a fancy to Geneviève and determines to seduce her. 

Life in the village seems to have  returned to a happy routine until Dominique manages to persuade Geneviève to run away with him, stealing the Marquis’ car for their escape. At first, Aimable pretends that she has gone to look for Pompom who has disappeared, and then maintains she has gone to stay with her mother but in the end the truth emerges. Aimable more or less takes to his bed, and the bottle, with depression and there is no more baking. The villagers put aside their differences and unite with one aim – to locate Geneviève and bring her home. 

Before they find her, Geneviève herself decides she has made a mistake and leaving Dominique asleep, she sets off for Marseille, overcome by shame and guilt and unable to face her husband and ask his forgiveness. The villagers meet her at the bus stop and persuade her to return. On returning home, Pompom also miraculously reappears. Geneviève tries to tell Aimable the truth but he launches into a tirade against Pompom, likening his disappearance to Genevieve’s philandering while offering it some milk, which he has faithfully refilled each day. He suggests that the ‘cat’ will run away again but Geneviève tearfully convinces him that she will never leave. A happy reconciliation follows and they start
to prepare the bread for the next day. I always love a happy ending! 

It is impossible to single out individual performances. Every member of the cast, whatever their role, was outstanding. The beautiful opening song by Sue Sillett (Denise) with her lovely voice set a very high standard which was maintained throughout. The singing, both soloists and ensembles, was faultless. 

One has to remember that this is a church and there is very limited space for a stage. One simple, very French, set served for all the scenes, complete with shutters, climbing plants, chequered tablecloths, tables and chairs. Simple changes were made by bringing props on and off to alternate between the bakery, the café, the hotel bedroom. Full use was made of the two side aisles for entrances and exits. 

Genuine costumes and hats provided an authentic French atmosphere. A large gantry specially erected at the back of the auditorium held the lighting equipment which was well used. Particularly good discreet use of the follow spot! 

Special praise must be reserved for the outstanding 6-piece band under the flawless direction of Sarah Jones, another first timer with GTG. Her background musical training, performance and teaching shone through. The variety of instruments played gave the impression of a full orchestra but the volume level was absolutely perfect, never overpowering the singers but contributing to the overall flow of the action. It was certainly a highlight of the evening.

This was another exceptional show and I am at a loss to find suitable adjectives to do it justice. A lot of the production team were new to GTG, bringing with them a plethora of talent and experience. Maria Langford’s directorial debut with the group was a triumph and we can only hope that her association with them will continue. Congratulations to her, to Musical Director Sarah Jones, Choreographer Phoebe Barrow and the whole production team, not forgetting, of course, the cast.

 

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