Despite a unique 18th-century style decor, a stool and two armchairs, we are immediately captivated by the exchange between Madame du Deffand (Céline Yvon) and her former lover the President of the Parliament Hénault (Rémy Jouvin). Both evoke Turgot, Diderot or d’Alembert that the great letter writer received in her salon, one of the most sought after of the time. Known for her wit and curiosity, Marie du Deffand begins to lose her sight. She introduces her reader, Julie de Lespinasse, the illegitimate daughter of her brother (Marguerite Mousset) to her protector. She brings her into her living room and soon considers her her daughter.
At first withdrawn, intimidated, but very intelligent, she imposes herself with her thoughts. To the point that it becomes the main reason why guests come. Madame du Deffand, whom Voltaire called the “blind clairvoyant”, suddenly lacks clairvoyance in her own house. The more her niece becomes emancipated – as evidenced by her costume changes (designed by Jérôme Ragon) – the more she takes umbrage at her growing importance. Especially since President Hénault succumbs to both his charm and his apparent innocence.
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As in Les Liaisons Dangereuses, the oral joust here is formidable, double-edged. The aging friend of philosophers, who hates philosophy, and the young shoot, who thirsts to discover life, sharpen their words. Scathing lines fly out and poison the atmosphere. The balance of power is shifting. “Some of his sentences of absolute pessimism are so modern that they could have been formulated from the pen of Cioran,” believes the author of L’Antichambre, Jean-Claude Brisville, about Madame du Deffand (L’Avant- theater scene, 2008).
Inspired by reality, this drama mixed with fine humor was created in 1991 by Suzanne Flon, Henri Virlogeux and Emmanuelle Meyssignac. It is always a question of power games, manipulation and differences in social condition. Jean-Claude Brisville, to whom we owe the famous Souper, a memorable face-to-face between Talleyrand and Fouché (Rich and Brasseur), considered that the story had genius.
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True to his intentions, the director, Tristan Le Doze, does it justice without adding an ounce of artifice, in an elegant manner. He makes good use of the lyrical talent of Marguerite Mousset. The actress is a devilish bastard whose progress in society is followed with admiration. Céline Yvon is perfect as a perfidious godmother who sees herself stripped of her influence. The very fair Rémy Jouvin referees as best he can the exchanges between the two fighters. Beautiful work.
L’Antichambre, at the Théâtre du Ranelagh (Paris 16th), until January 14. Loc. : 01 42 88 64 44.