Georges Feydeau’s A Flea in Her Ear (La puce à l’oreille) is a classic French farce, first performed at the Théâtre des Nouveautés in Paris on 2 March 1907.
Stephen Mulrine, in his introduction to this translation by Kenneth McLeish, describes A Flea in Her Ear as 'perhaps Feydeau’s best-known play, certainly to English audiences, and its intricate choreography draws together two classic farce plots – that of the suspicious wife who sets a trap to expose her faithless partner, and the venerable comic device of mistaken identity. And the latter complicates the former to such a degree that by the end of Act II, the spectator is almost as exhausted, mentally, as Feydeau’s characters are, physically, by their manic pursuit of each other across the stage, in a flurry of whirling doors and spinning beds.'
Mulrine also observes that 'Feydeau’s plays are a form of perpetual motion, and almost impossible to summarise, but taken by itself, the mistaken identity plot is comparatively straightforward: the supposed unfaithful husband, Chandebise, bears an uncanny resemblance to a drunken porter, Poche (both parts are played by the same actor), and when circumstances bring the two into proximity, in the seedy Hotel Casablanca, all hell breaks loose. Those circumstances arise through the workings of the main plot, set in motion with the entry of the principal characters, midway through Act I, when Chandebise’s wife Raymonde confesses to her friend Lucienne that she suspects her husband of infidelity, while Chandebise himself, a little later, complains to Dr Finache about a worrying, and inexplicable, loss of sexual vigour.'