Madness that will save the world, a whirlwind of sincere relationships aimed at battling the greed and avarice of a consumer and extractive society, a comedic farce that makes one ponder modernity - on the stage of the workshop of Peter Fomenko, the play "The Madwoman of Chailly" is performed, directed by Peter Fomenko. The director of the revived version is Kirill Pirogov, who was involved in the play years earlier. In his time, the French writer and diplomat Jean Giraudoux was one of the few foreign authors whose work was appreciated in post-revolutionary Russia. His poetic satirical play "The Madwoman of Chailly," whose productions he did not live to see due to the outbreak of World War II, was particularly well received by the Russian audience: in 1992, Rodion Shchedrin staged a ballet based on it with Maya Plisetskaya, and 20 years later, Peter Fomenko presented his canonical production to the audience. In the current repertoire of the [Fomenko Theater](//kudago.com/msk/place/fomenko-theatre/), already after the death of Peter Naumovich, the play is presented in the so-called "revived" version, directed by a student and long-time actor of the theater K. Pirogov. In the new edition, the composition of the street orchestra of Parisian musicians has expanded, and, as critics note, with the transfer of the play to a new large stage, it has gained a different scale. The characters in Jean Giraudoux's plot are polar not only in their attitude towards life but also in their social status within it. In the red corner of this ring of morality and goodness are representatives of the United Bank of Parisian Resources (U.B.P.R.), which includes a baron, a banker, a stockbroker, and the president of a joint-stock company. These people are driven by a passion for profit at the expense of the natural resource of oil (a quite modern plot). In the blue corner are four women from the provinces of Paris and their friends, ready for heroic deeds to save their homeland. Orelie - the madwoman of Chailly. With her are three other "mad" ladies: Constance, Gabrielle, and Josephine. The question before the audience is: are these heroines really mad? No, they are just romantics who oppose.