Martin Guerre
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Introduction to "Martin Guerre"
"Martin Guerre" premiered in London’s West End at the Prince Edward Theatre on July 10, 1996, running for 675 performances until February 28, 1998. With music by Claude-Michel Schönberg, lyrics by Alain Boublil, Edward Hardy, and Stephen Clark, and a book by Schönberg and Boublil, this sung-through musical adapts the historical tale of Martin Guerre and the 1982 film "The Return of Martin Guerre." Directed by Declan Donnellan, it starred Iain Glen as Arnaud, Juliette Caton as Bertrande, and Matt Rawle as Martin. Produced by Cameron Mackintosh for $6 million, its initial lukewarm reception led to a major October 1996 overhaul, boosting its run and earning the 1997 Olivier Award for Best New Musical. A tale of deception and devotion in 16th-century France, its journey from flop to triumph marks it as a bold, if uneven, West End saga, with whispers of a 2025 revival.
The Creative Team Behind the Show
Claude-Michel Schönberg composed the operatic score, with Alain Boublil crafting original French lyrics, joined by Edward Hardy and Stephen Clark Clark’s post-debut rewrite proving pivotal. Schönberg and Boublil co-wrote the book, drawing from their "Les Misérables" playbook. Declan Donnellan directed, with Bob Avian’s choreography animating the religious strife. Iain Glen’s Arnaud and Juliette Caton’s Bertrande led the original cast, with Matt Rawle’s Martin and Michael Matus’ Benoit shining later Jenna Russell and Hal Fowler took over in 1997. Cameron Mackintosh produced, with Nick Ormerod’s stark sets and David Hersey’s lighting evoking a volatile era. After a rocky start, the team’s revisions adding Clark and slashing Act I turned a $500,000 gamble into a polished epic, though its heft never fully rivaled its predecessors.
A Tale of Identity and Intolerance
In 1560s Artigat, a Catholic stronghold, young Martin Guerre weds Bertrande de Rols in an arranged match to secure an heir. Unable to consummate, he’s beaten by priests and flees to fight Huguenots, befriending Arnaud du Thil. Seven years later, Arnaud arrives, mistaken for Martin presumed dead and assumes his identity, winning Bertrande’s love despite her knowing the ruse. Songs like "Without You as a Friend" and "Live with Somebody You Love" chart their bond, as jealous Guillaume incites a mob against their secret Protestantism. At trial, the real Martin returns, condemning Arnaud, who’s freed but stabbed by Guillaume amid a village blaze. Arnaud dies in Bertrande’s arms, Martin departs, and the town rues its bigotry a dark, twisting saga of love and mistaken selves.
Performance and Reception
Opening to tepid reviews Variety called it “ambitious but muddled” "Martin Guerre" ran 675 shows after a mid-run closure from October 28-31, 1996, for a drastic rewrite, reopening November 11 to acclaim. The Sunday Times hailed its “epic sweep,” with Glen’s “manly” Arnaud and Caton’s “touching” Bertrande lauded, though The Daily Mirror dubbed it a “crashing bore” pre-revision. The overhaul new songs like "Working on the Land" and a clearer ending won the 1997 Olivier for Best Musical and Choreography, drawing crowds despite early exits. A cast recording captured its improved form, with over 700,000 attendees by closing. Facing "Phantom"’s glitz, it grew into a hit, its transformation a rare West End redemption, though some still found its melodies forgettable.
Legacy in West End Theatre
"Martin Guerre"’s 675 performances pale beside "Les Mis"’ 14,000+, yet its two 1997 Oliviers and rewrite saga mark it as a West End survivor. A 1998 West Yorkshire Playhouse redo slimmed and retuned toured 227 shows, while a 1999 U.S. run hit Minneapolis but skipped Broadway. Craig Revel Horwood’s 2007 Watermill Theatre actor-musician take inspired Schönberg and Boublil’s ongoing 2025 London revival plans sans Mackintosh, who returned the rights. Seen by over 1 million globally, with a cast album and 1992 BBC radio roots, it’s no "Miss Saigon" but endures as a cult epic. Its tale of faith and fraud, refined through trial, remains a theatrical phoenix flawed, fiery, and poised for a new chapter in Theatreland’s canon.