Pedro

In a direct address to the audience, two colorful characters give their all. Mixing the aesthetics of Pedro Almodóvar and the imagination of Ursula le Guin, Juliette Navis brings her trilogy on pop culture to a close.

On stage, an actress and an actor from Pedro Almodóvar, both with Spanish accents, take us into an offbeat, futuristic fiction. The expected third play in a trilogy devoted to pop culture figures, after Céline Dion and Jean-Claude Van Damme, Pedro reiterates gender frictions by questioning intimacy, pleasure and sexuality. In the same way as for her solo J.C., in which Juliette Navis seized on the thinking of economist Bernard Lietaer, the director crosses with Pedro the kitschy, acidulous outrageousness of the filmmaker's films with the prolific imagination of the books by Ursula Le Guin, the American papess of science fiction. Laure Mathis and Douglas Grauwels, the performers of the two previous solos, are here both their own characters and others, carried away by the comical narrative and situations. The direct address to the audience that made the beginning of the trilogy so successful and aesthetically pleasing finds its source in a chiselled writing style, open to the unexpected, that engages the entire body of the actors, provoking an immediate effect on the audience.