The Romantic poet Lord Byron said of Germaine de Staël, “She thinks like a man, but alas! She feels like a woman.” De Staël (1766–1817) is known as a political theorist, hostess of salons, survivor of the French Revolution, and critic of Napoleon. She was the daughter of Jacques Necker, the influential finance minister of Louis XVI. A prolific writer, she was a philosopher, essayist, novelist, and one of the major public intellectuals of her time. One of her famous quotes is “Men do not change. They unmask themselves.”
But in partnership with Expand the Canon, a New York–based nonprofit that “uncovers and uplifts classic plays by women and underrepresented genders,” local theater troupe We Happy Few reveals another unsuspected talent of this extraordinary woman: a surprising flair for satire.
We Happy Few, a company dedicated to rediscovering theater classics, is mounting De Staël’s play The Mannequin (1811), a rarely produced protofeminist comedy, now through June 6. The play is lighter than air, graceful and witty, but with an undertone of sincerity that adds to its appeal.
Our heroine, Sophie (Gill Rydholm), is beset by a spectacularly solipsistic suitor, Monsieur de Ville (Em German). Rydholm is charmingly strategic in the lead role of Sophie — possibly playing an idealized version of de Staël herself. Unfortunately, her father, Monsieur Morliere (Andrew Quilpa), has promised her hand to this buffoon, who is very much in love with her inheritance. Sophie’s suitor is French, and her father, a descendant of French Huguenots, is appropriately enraptured.
MORLIERE: My grandfather may have been forced to take refuge in Germany because of the revocation of the Edict of Nantes — indeed — but we have always kept our French heart –– French blood –– French tastes.
SOPHIE: Not exactly a French accent, though, Papa, do admit.
MORLIERE: I may be so unfortunate as to pronounce a word with a bit of a gutteral now and again, but you do not have to be so mean as to point it out. Any-way, if my language is no longer graceful, that’s exactly the problem: it’s happened because I’ve been living with these damned Germans. That is the very reason why I want a French son-in-law. A French son-in-law will correct my pronunciation, and make everything look French around here, and tell me stories of the good old days of Louis XIV. When I was a boy my grandfather always used to tell me about Louis XIV.
SOPHIE: The man you want me to marry, Papa, Monsieur de Ville, is the least likely man in the world to tell you anything interesting about any of that.
The conceit of the play is that the suitor, Monsieur de Ville, prefers women to be shy, or even better, silent, and responds more romantically to a mannequin than to a real woman. By contrast, Sophie, finding herself in an untenable position, is more like de Staël. She uses her intelligence to find a solution rather than passively accepting her fate.
Each performer adds a certain nuance to their role. As Sophie’s father, Quilpa rhapsodizes over the glories of France as if about to break into “La Marseillaise.” As the unwelcome suitor Monsieur de Ville, German prances, preens, and oozes a positively celebratory self-absorption. As for Rydholm’s Sophie, she presides over the proceedings with a winning smile and a Jane Austen empire neckline. (De Staël disliked Jane Austen, finding her work passionless and provincial.)
As local artist Frederich, Sophie’s true love, Esteban Marmolejo-Suarez has an understated honesty that renders their connection understandable and real.
Kerry McGee directs with a light touch and an intuitive grasp of the underlying currents of emotion. The fresh, effortless choreography is by Debora Crabbe.
The set, by Jon Reynolds, is spare but elegant. Wendy Snow Walker’s costumes are original, stylish, and perfectly suited to the Regency era. The lovely sound design and composition, by MIchael Winch, echoes the moods of the performance. Lighting design by resident designer Jason Aufdem-Brinke is especially responsive to character..
Germaine de Staël believed in women’s rights, individual freedom, and the abolition of slavery. She saved friends during the Terror. She defied Napoleon and was banished for it.
The personalities she satirizes in this play — particularly that of the unlikable Monsieur de Ville — remind us that no one can make fun of an egotistical man better than a woman. The Mannequin is fast, feminist, and fun. Kudos to We Happy Few and Expand the Canon for bringing it out of the shadows.
Running Time: 70 minutes with no intermission.
The Mannequin plays through June 6, 2026, presented by We Happy Few performing at the Capitol Hill Arts Workshop, 545 7th St SE, Washington, DC. Purchase tickets (from $20) online.
The program is online here.
Further reading: Loose Canons: Local Theater Company Reconsiders What’s Classic (Washington City Paper feature by Melissa Lin Sturges, May 21, 2026)
The Mannequin
By Germaine de Staël
Translated by Vivian Folkenflick
Directed by Kerry McGee
CAST
Sophie: Gill Rydholm
Monsieur de Ville: Em German
Frederich: Esteban Marmolejo-Suarez
Monsieur Morliere: Andrew Quilpa
CREATIVE TEAM
Director and Co-Artistic Director: Kerry McGee
Producer and Co-Artistic Director: Rachel Dixon
Choreography: Debora Crabbe
Lighting Design: Jason Aufdem-Brinke
Sound Design & Composition: Mike Winch
Scenic Design: Jon Reynolds
Costume Design: Wendy Snow Walker
Dramaturgy: Jess Singly
Production Manager: Wendy Snow Walker
Stage Manager: Kenzie Wentela
Company Manager: Wendy Snow Walker
