A promising new musical about French sapphic [s]wordplay
Julie d’Aubigny is one of the most scandalous and fascinating characters throughout French history. So it’s only fitting that she gets her theatrical due, presented here as an Act 1 workshop. Written by Merilee Ettia and Robbie Hébert, this is clearly an ambitious project, and one which requires an abundance of imagination to fill in the gaps.
Nevertheless, this iteration flourishes as we delve into what it means to be “natural” in a world where so many in her circle stand out. Julie (played by Lara Smyth) is thrust into the French court of 17th Century Versailles. We meet her at a pivotal moment in which she explores her love for Cecilia (played by Caitlyn Calfas) while in a relationship with the enigmatic Comte D’Armagnac (played by Kieran Capaldi). They are trying to overrun the bandits playing havoc with their society, and require the court’s favour to run the police in order to stop them. Allies come in the form of the King’s brother, Philippe of Bourbon (played by Lukas Poischbeg), and Nico D’Harcourt (played by Lewis Snell) whose life is saved by Julie during a raid from said bandits. There is a mishmash of political intrigue, queer questioning and nobless oblige as Julie navigates her place in society and in her own head, trying to forge her authentic, Sapphic self and be cool as hell doing it.
The performance is presented as a semi-staged concert; book in hand and minimalistic in scope. Yet the script exposes spectacular promise. There is so much genuine, witty humour; off the cuffs remarks, excellent comic timing, fourth-wall breaking glances and clever comebacks. Songs are poignant, passionate and full of pathos- excellently written with great use of rhyme and [s]wordplay.
Visually, the costumes are reminiscent of the 80s New Romantic music videos of Adam Ant and The Human League. Perhaps unintentional, but it works superbly well at reinterpreting the flouncy, flamboyant Versailles aesthetic and could go even further with hair and makeup for dramatic effect. Not least due to the fabulous yet masculine garb worn by Julie being a key plot point.
Where this show has work to do is with the subject of Julie herself. How daring and explicit are they willing to present her? It is likely as the piece progresses, the staging will bring it to a much more vibrant physicality. It is also unclear why the script focuses on a new, made up villain with imagined complications when her real life was so full of absolutely insane facts that are crying out to be enacted. She was an opera singer! She rescued her lover from a convent and burnt it to the ground! She was a ferocious duelist sentenced to death! Instead we focus on her pining for Cecilia, mulling her life choices and being politically indecisive. She is certainly presented as feisty but not yet full Firebrand. The Versailles setting may also be restricting the scope for her wider adventures. In the fullness of time, hopefully the script’s ambitions will indeed match that of their protagonist.
This show has an abundance of promise and fascinating queer characters to explore. The bare bones are there, and it remains to be seen how far they can take it with great storytelling and performances.
Firebrand was performed as part of the Camden Fringe at The Water Rats, London on 17th-19th August 2026