Where I go at night, Orpheus and Eurydice reinvented

It seems that we have been invited to a wedding.

It is in front of a half-professional, half-family orchestra installed on a small stage that the spectators enter the room.

The joyful groups of four musicians follow the tributes to the newlyweds with a lot of French pop.

Were we in the wrong room?

Suddenly, after her speech addressed to the spouses, one of the singers (Agathe Peyrat) suddenly leaves the stage and firefighters come to put an end to the small performance.

We quickly understand that she will not recover.

His companion (Cloé Lastère) is plunged into deep pain, she slips little by little into Orpheus' features.

From then on, the scene underwent transformations both in form and in substance.

Plunged into semi-darkness, it is modeled by appariteurs, wearing firefighters' costumes that gradually destroy the blocks that formed the scene of the initial quartet.

A little disconcerted (like her audience), the young woman in a silver blue costume finds herself alone on stage.

Armed with her silver wire microphone, like a bereaved Ariadne, Orpheus implores the gods to let her join her betrothed.

This is where Gluck comes into play.

To discover

• Discover the “Best of the Goncourt Prize” collection

Eurydice (Agathe Peyrat) in the underworld.

Thierry Laporte

Very freely inspired by Orpheus and Eurydice by Christoph Willibald Gluck, Jeanne Desoubeaux, herself trained in dance, theater and classical music, stages a hybrid show that is more like theater than opera.

A joyful mix of genres that confronts the lightness of a wedding and a dreamlike universe, that of the underworld where song and opera meet.

The difficulty of this show could have been to bring about the encounter between the world of the living and that of the dead.

But this challenge is met with flying colors.

The shift is sudden, like that of mourning, and symbolized by a large section of gathered tulle that falls on the stage, itself devoured by a thick mist.

Eurydice, she who already belongs to the underworld no longer expresses herself except in her head voice, when Perseus,

The spectator is constantly immersed in his entrenchments: movements of the appariteurs/firefighters who move the blocks of the stage, prolonged dives into the dark, musicians who appear and disappear just like the actors who enter and leave the room through the main door.

The proposal is audacious, the choice of actress-singers irreproachable and it is necessary to underline the happiness of seeing musicians (Jérémie Arcache and Benjamin d'Anfray) who master both a classical and a more contemporary repertoire.

The cement of a piece that rejuvenates and refreshes Gluck's work.

Orpheus concludes with these words from Philippe Katerine: “

 ”.

BOOK YOUR PLACE WITH LE FIGARO

“Where I go at night”, until April 17 at the Théâtre des Bouffes du Nord, 37 bis, boulevard de la Chapelle (10th).

From 26 to 29 April at the Manufacture-CDN in Nancy, on 3 June at the Biennale Là-Haut Saint-Omer.