On the pediments of private theaters in Paris, the names of the actors who are not there to entertain the gallery, but who play cuckolded wives or brainless maids, are slapped in capital letters. Isabelle Carré, Sandrine Bonnaire and Isabella Rossellini: these actresses popularized by the cinema liberate the shows from their commercial routines, elevating them to the height of an aggressive need for privacy. They do not represent puppets, but exemplary figures, strong in thought, effective in action, who take on the best as well as the worst of themselves. These actresses distill a certain dose of feminism in the heart of a private theater, which is therefore unusual. They do it even better when they work with their accomplices, the director (Catherine Hiegel), the writer (Géraldine Martineau) and/or the location manager (Rose Berthet).
Rose Berthet, at the helm of the Théâtre de l’Atelier in Paris since 2022, wants to renew the public by mixing new blood and definitive values. “You never know what might work, but we try to minimize the risks.” explains. How? By entrusting the first part of the night to a star with a very unifying talent (Fabrice Luchini). Then, at dusk, they continue with riskier projects. With Lost illusionsAccording to Balzac, a show currently presented by Pauline Bayle will follow with performances in mid-October. English LoverWritten by Marguerite Duras, starring Sandrine Bonnaire.
“More dangerous projects”
If the ticket sales generated by Fabrice Luchini do not end up in L’Atelier’s coffers (the actor renting the room keeps the profits), his notoriety becomes a publicity asset: “Its success allows me to program more dangerous projects”trusts Rose Berthet, whose purpose is to defend creation and promote equality. “The lines are moving. The revival of the shows created in the folk theatre – this situation Lost illusions – It gives the works an extra chance of being seen. Younger generations are now sensitive to presentations that are not only based on street comedy and entertainment. » The owner, Antoine Courtois, has his hands free. “He trusts me and I have no special qualities”still meets the director who has the duty of not giving any deficit.
Cold sweats are guaranteed. Because there is no unstoppable recipe for capturing the audience captivated by the abundance of Parisian cultural opportunities. Rose Berthet may be determined, but sometimes she navigates by seeing: “Our capacity is 560 people. We rely on word of mouth, but we never know why a show starts strong or not.” He carefully announces only thirty performance dates. English Lover. If people show up, that number will rise to 60. Will Sandrine Bonnaire’s presence be enough to double the stakes? “First of all, I’m not looking for a movie starDefending Rose Berthet, but it is true that the name Sandrine is reassuring. »
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