Music-hall

The author, who entered the Comédie-Française repertoire in 2008 with ''Juste la fin du monde'', composes here "a monologue in three voices" for the Girl, a singer of distant youth, nostalgic for an era she dreamed of or lived through, and for her two Boys, faithful roving companions who have shared the glitter and darkness of her life. For Glyslein Lefever, choreographer and director, this music hall is a metaphor for a place of passage, from city to city, from age to age, from stage to stage. A corridor. As she listens to this rhythmic score, she relies on a set design where the effects of transparency and the magic of light broaden the meaning of the story, which in the end we don't know whether it's taking place in a small, decayed cabaret, a waiting room or a hospital corridor... La Fille is constantly replaying her entrance on stage - an inexhaustible quest for recognition - and her Boys let themselves be carried away in this memorable and perpetual movement, which is extremely poetic. As in all his work, it's also Jean-Luc Lagarce who tells his own story through them. Working with the actors on the precision of the author's chiseled language, the director cadences the expressivity of the bodies, exhausted but still animated by an overflowing love of the stage, yearning for elsewhere while deeply attached to the lights, however flickering, of the spotlights.