First table. The characters are plunged into semi-darkness; they hum “Belle nuit, ô nuit d’amour”, an aria by Jacques Offenbach. Then slip away silently backstage. We don’t see the composer of Les Contes d’Hoffmann right away, but we discover his relatives: Amandine, his devoted secretary (Claudine Barjol), Pitou, the stage manager (Daniel-Jean Colloredo, unrecognizable), and an old friend of the composer, a soldier who fought for the Emperor (David Le Roch). They talk about the humor and the health of the musician whose heart is entirely occupied by his mistress.
Jacques Offenbach, who then directed the Théâtre des Bouffes Parisiens, was devoured by his passion for the singer with the golden voice, Hortense Schneider, his muse (busty Héloïse Wagner). He also struggles to create new works. And too bad if the money is missing! Jean-Paul Farré lends the composer his burlesque allure. The actor, musician, singer and director, who has often distinguished himself in musical solos, is older than Offenbach, but it doesn’t matter. Directed by Anne Bourgeois, the generous favorites, eyes like marbles and shining with mischief, the actor is perfectly deluded. He enjoys himself and has fun.
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Tandem of authors specializing in comedy for a little over twenty years, Bruno Druart and Patrick Angonin give free rein to their delusions. What does it matter if the historical truth ends up head over heels. It is a question of drawing the portrait of the brilliant Offenbach in the last ten years of his life. The interested party becomes, as the title of the show indicates, irresistible.
Her moods make her head spin. Under the influence of his feelings, he gives up everything to his cumbersome mistress, decides to part with her, returns to it, swears to himself to remain master of his destiny. He jumps from rooster to donkey but his replicas hit home. The devil steps in: Offenbach falls under the spell of a young singer who comes out of a convent (Alexie Ribes, daughter of Jean-Michel Ribes). Candid at first, then cuddly and cheeky. His faithful Amandine ensures that he always comes back to basics.
Bruno Druart and Patrick Angonin embellish the piece with sung interludes – we would like more -, the music of Michel Winogradoff makes the public want to tap their feet. Anne Bourgeois ensures that everyone can do their acting number. The sets by Olivier Prost, conducive to a mise-en-abîme of the theatre, and the colorful costumes by Jean-Daniel Vuillermoz contribute to offering a nice journey into a bygone, but perky period. “‘Smack, smack, smack! »
Irresistible Offenbach, until May 31, at the Théâtre de Passy 75016 Paris. Loc. : 01 82 28 56 40 or www.theatredepassy.fr
