Molière as the hero of a musical? One might shudder at the thought, and even more so when you know that Dove Attia is the author of the libretto and the producer of the show. We remember the daube that was his Ten Commandments, programmed twenty years ago, which the critics, of which we were one, had unanimously exhausted. Well, it would be a mistake to do without this Molière, the urban opera, with its audacious choices.
Dove Attia has managed to avoid the pitfalls of such a biopic, a sung and danced version to boot. No pastiche of one of the plays written by our brilliant playwright, but simply a few quotes of verse here and there to accompany a very well composed libretto, focused on the story of Molière and his troupe of acrobats in search of a protector. There is something of the spirit of Miloz Forman's Amadeus, shot in 1984. Historical reality is respected on the whole, even if some features have been forced, and space-time somewhat distorted.
In the end, we applaud an extraordinarily well-sung show, with sublime trios, among other things, and effectively danced with impeccable ensembles imagined by Romain R.B.
Singer, dancer, choreographer, acrobat
Read the dossierMolière dossier: celebrating the 400th anniversary of his birth
And apart from a few mistakes, such as the conversion of the Duc de Conti, which borders on caricature, everything is of a beautiful energy, punctuated by the staging by Ladislas Cholat. The character of Monsieur, if deliberately exaggerated, is very funny. The phenomenon of the evening remains: PETiTOM in the role of Molière. Singer, dancer, choreographer, acrobat, this Quebecer sings wonderfully and plays and dances brilliantly. A complete artist like we rarely see, to whom we predict a huge career. He captivates the audience, to the point of making them shed a tear over this Jean-Baptiste Poquelin, known as Molière, who dies on stage. And the public reciprocates by giving him a triumph.
Until February 18 at the Palais Des Sports in Paris.