"Mamma Mia!" in French and on tour

Imagine for one moment you hadn't seen the title of this piece, and instead you were asked to sing - in English - the lyrics of "Dis oui, dis oui, dis oui, dis oui, dis oui", "Un homme après minuit", or "Viens tenter ta chance".

How would you fare?

Would you even know which songs you were being asked to sing?

"Mamma Mia! (screenshot from tour trailer)

Just for the record (ouch) they are in order, "I do, I do, I do, I do, I do," "Gimme! Gimme! Gimme!" and "Take a chance on me".

Yes welcome to Abba sung in French.

After a hugely successful two-year run at Le Théâtre Mogador in Paris, "Mamma Mia!" is on tour - packing 'em in at every stop.



The whole shebang kicked off in September 2012 and is due to wrap up at the beginning of March.

There's no need to recap the rather thin plot. You're probably all familiar with either the original London show which opened back in (gulp) 1999 or one of the many international productions, and most probably the 2008 (ah, that's better) film starring Meryl Streep.

It was and remains a vehicle for Abba songs - and there's nothing wrong with that.

"Mamma Mia! (screenshot from tour trailer)

So what of the French version of the "Worldwide smash hit"?

Well it lives up to the positive reviews it has received. The acting, although not brilliant, isn't required to be. Hence the "hammed up" and ever-so-slightly camp aspect in no way detracts from enjoying it for what it is - a musical.

The choreography is simple but fun and effective and the set design colourful. The voices are good, but not great - one thing perhaps in the cast's favour is that they're most definitely not trying to be Abba. Well they couldn't really.

All in all it remains as karoake-inspired as ever (sorry for fans of either the stage musical or the film) with one major exception of course. It's in French.

"Mamma Mia! (screenshot from tour trailer)

Unless you've surfed the Net beforehand to take a gander at the lyrics and maybe memorise them, or bought the album, then seeing and hearing such familiar songs without being able to join in, might come as something of a shock.

Now, no matter how much of an Abba fan you might be, and regardless of Björn Ulvaeus and Benny Andersson's undoubted talent for writing some pretty good pop tunes for them, along with Agnetha Fältskog and Anni-Frid Lyngstad, to belt out, the lyrics were sometimes rather...how to out this kindly..."dodgy".

Catchy, the tunes definitely were: well crafted and produced too. But the words?

Well, let's be honest. They weren't and probably were never meant to be (too) deep. After all, we're talking pop here.

Clever, yes. But from the very first time we all heard, "My my at Waterloo Napoleon did surrender, Oh yeah and I have met my destiny in quite a similar way. The history book on the shelf is always repeating itself" it was clear this was light and fluffy at its commercially rhyming best.

Funnily enough though, the real strength of the French version of "Mamma Mia!" probably lies in the lyrics.

"Mamma Mia! (screenshot from tour trailer)

The dialogue (such as it is - see the French and Saunders film parody clip at the end for perhaps the fairest appraisal) was translated by Stéphane Laporte and the all-important songs - although they also needed the seal of approval from Ulvaeus -  by Nicolas Nebot.

"I sent him (Ulvaeus) my translations and he was especially keen to keep the sonority and the catchiness of the phraseology," Nebot said.

"He didn't want a word-for-word translation."

And Ulvaeus, along with audiences in France, didn't get it either.

Instead Nebot has managed to breathe new life into old favourites and in the process, give an additional pleasure.

Now this will only work if your French is up to it, but look at what happens to the beginning of "The winner takes it all" or "La loi du plus fort".

"I don't wanna talk
About things we've gone through
Though it's hurting me
Now it's history
I've played all my cards
And that's what you've done too
Nothing more to say
No more ace to play

The winner takes it all
The loser's standing small
Beside the victory
That's her destiny"

"Je n' veux plus parler
De ce vide entre nous
J'ai purgé ma peine
C'est d'l'histoire ancienne
J'ai tentè ma chance
Tu as jouè tes atouts
Sans aucun regret
Les jeux étaient faits

C'est la loi du plus fort
Moi je m'incline encore
Et derrière la victoire
Je lis ton histoire"

All right already, not the stuff of which either great literature or poetry are made but francophone Abba fans (and there surely must be a fair few based on the success of the musical since it opened) will most certainly get a kick hearing an old favourite revisited.

Rainbathing at the Edward Hopper exhibition in Paris

If you're planning on making it along to the Edward Hopper retrospective at Le Grand Palais in Paris, here are a few things worth bearing in mind.

First up of course, buy your ticket in advance.

If you don't, the chances are you'll spend several hours queueing, or standing in line if you will, watching those who've had the foresight to book online pass in front of you.

That said, even if you have a ticket, there's no guarantee that you'll actually make it through the doors at the time stated.

The numbers allowed in are clearly limited by the space available, and that's perfectly reasonable, if only for security purposes.




Ah waiting!

This being Le Grand Palais, so completely unused to organising major exhibitions that have popular appeal (let the irony carry you away) there's a very French approach to "service".

Because the exhibition is running from October until January - the months when Paris offers the very best of weather - absolutely no thought seems to have been made by the wonderfully-named Strategic orientation council or those involved in running the whole shebang as to how visitors might comfortably spend their time outside, rainbathing.

Temporary shelter to protect those waiting from the "inclement" (don't you just love that word - very TV presenterish n'est-ce pas?)  weather?

Hah!

Not at all.

Instead, just as the masses who went to see the Monet exhibition a couple of years ago, you can take full advantage of whatever Mother Nature showers upon you.
 

Edward Hopper retrospective, Le Grand Palais, Paris - brolly parade

What about staff on duty to explain waiting times, deal with complaints from very patient (given the circumstances) often damp and probably cold visitors?

Oh yes...one solitary and decidedly miserable-looking attendant who sympathises with the predicament of those waiting, clearly doing his best, but cannot really deal with the situation.

Nor should he have to.

Ergo - take a brolly, wrap up warm and...hey, perhaps have a flask of something hot (or warming) to hand.

When that moment comes and you're allowed inside, be prepared to go shoulder-to-shoulder with other visitors desperate to get a glimpse of the works on display.

The atmosphere is decidedly one in which there's an intimate sharing of space as everyone politely pigeon-steps their way from room-to-room, painting to painting.

Edward Hopper retrospective, Le Grand Palais, Paris - through the doors and then what?

Oh and keep an eye out for the "professional" who has brought their own stool with them and will happily hog a prime location slap bang in front of the work THEY want to see.

As for the exhibition itself, well it's a delight as Hopper's work is accessible and his Realism - because that's what it is - is something your mother would probably approve of as "proper painting".

Plus it provides a great insight into the man often described as an iconic American artist.

If you hire the audio handset to guide you through the exhibition, be sure to return it to the unmarked little plastic basket, almost hidden,  as you leave.

Otherwise you could end up taking it home because the woman responsible for collecting headsets for groups will refuse to take it with a jobsworth, "No you cannot leave it here."

Alternatively of course you might decide to go it alone and instead simply enjoy what you see, including the influence Paris had on his style (here's a pretty good piece on that) with the occasional and inevitable pontificator happily sharing their "knowledge" and "understanding" of Hopper with anyone who doesn't really want to listen.

There's always (at least) one - isn't there?

Finally, for those of you who take the...er...more shall we call it the "French and Saunders" approach to any sort of exhibition...well the coffee's all right.



The Edward Hopper retrospective runs at Le Grand Palais until January 28, 2013