"1789 : Les Amants de la Bastille" a revolutionary love story set to music

I'm not a great fan of musicals at the best of times, and even less so of French ones.

But occasionally I allow myself to be dragged along to one.

"You'll enjoy it, you'll see," friends who had seen the production of "1789 : Les Amants de la Bastille" during its first run in Paris, assured me.

"There's some great music, fine voices and the set is sumptuous. Plus you'll brush up your knowledge of French history," they insisted.

"Besides, you shouldn't be so snooty about these sort of things."

Moi? Snooty (and pretentious)? I hardly think so.

After all, I was the person who had recently seen the French version of "Mamma Mia"... and liked it.

Plus in recent years I've enjoyed the "Sound of Music", "West Side Story" and "Carousel" at the Théâtre du Châtelet in Paris.

All right, already so they were all transfers of original productions from Broadway or the West End.

And they weren't exactly in the mould of that 1998 gem "Notre Dame de Paris" described by The Independent when it opened in London as "a load of old bells" and which must surely have set the trend for the glut of French musicals that were to follow over the next decade or so.

Anyway, 1789-bound I was, even if somewhat sceptical.

Having heard some of the sound track on the radio and knowing that Louis Delort, a finalist in the first season of The Voice, had been cast in one of the lead roles, I didn't hold out much faith in my friends' first two assertions.

Louis Delort and Camille Lou (screenshot from "Tomber dans ses yeux " official video, 1789 Les Amants de la Bastille)

As for helping me make sense of a period in French history. I had my doubts.

On that count at least, I wasn't disappointed.

It was a French Disneyfying of events made palatable for everyone and accompanied by some frenzied dancing and uptempo but nonetheless uninspiring songs.

The run-up to the French revolution serves as a backdrop to a love story (what else?).

Robespierre, Danton, Marie Antoinette Louis XVI et al are all present and correct as are two fictional characters from both sides of the divide: Ronan Mazurier (Delort) for the "revolting peasants" and Olympe du Puget (Camille Lou) an under-governess at the royal court.

Delort is good, as is Lou. And... oh and look, there's another TV talent show contestant in the form of Sébastien Agius (Robespierre) who apparently won the inaugural season of the French X Factor in 2009.

They and the others belt out the tunes, helped by microphones cranked up to the max to overcome the pre-recorded intrumentals.

The music is...well, it seems as though Dove Attilla and Albert Cohen (the duo responsible for bringing us "Les 10 Commandements", "Le Roi Soleil" and most recently "Mozart l’opéra rock") have cobbled together the tracks that didn't quite make it into "Mozart".

Still, the audience seemed enthralled. Well at least those who weren't "watching" the whole thing through their smart 'phones while filming.

"Please don't use flash photography," the announcer had requested before the performance began.

"It's dangerous for the performers (huh?) and besides the stage lighting is sufficiently bright," he added, thereby making a nonsense of the sign at the entry to the venue which said "no cameras allowed".

Curtain up. Flash, flash, flash went the smartphones in a pattern which was to repeat itself every time there was a scene change.

Every song was roundly applauded. Children and adults alike texted furiously as they scoffed their popcorn and guzzled their soft drinks and I sighed, looking at my watch and wondering whether I could leave before the end.

It was...well a real treat for those who enjoy their French (musical) history served up Camembert-style.

Me? I think I'm musical-ed-out for the moment.

But if you're really keen to see what has, after all, been a huge success in France, "Les Amants" continues its nationwide tour with stopovers in Montpellier, Nice and Marseille before returning to Paris in November.

And then at the beginning of 2014 it'll be on the road again.

"Suite 2806" treading the boards with DSK

Well not quite. The disgraced form head of the International Monetary Fund, Dominique Strauss-Kahn, won't actually be taking to the stage, but his persona will be.

And it happens in a play due to open shortly at the Théâtre Daunou in the second arrondissement of the French capital.

"Any resemblance to what actually happened is purely coincidental," runs the blurb for the imaginatively entitled "Suite 2806" the scene, of course, of the infamous encounter at the Sofitel in New York between DSK and the chambermaid Nafissatou Diallos

"Suite 2806" (screenshot of poster for the play)

 Eric Debrosse and Jelle Saminnadin take on the roles of the ingeniously renamed protagonists "Daniel Weissberg" and "Evangeline" in the play written by Guillaume Landrot and directed by Philippe Hersen, who describes it as being "very elegantly and well written, focusing on power, subconcious deliberate mistakes and redemption."

Proving that it's pure "faction" the plot has...wait for it...Evangeline - who has studied modern literature - entering into "a real discussion" with the businessmen Weissberg!

Say no more.

'It examines the origins of the sexual addiction of my character without making any judgement," says Debrosse.

"And Evangeline comes across as a victim but also a strong woman."

Oh well. It'll be something to see in Paris on a cold November or December evening perhaps.

Maybe it's not surprising that the affair is being milked for all its worth - and more.

After all it at the time it made headlines not just in France but around the world and it surely changed the face of French politics, delivering a knockout blow to DSK's chances of running for president of this country.

Since then, there have been books, both fictional ones that have taken their "inspiration" from what went on in the room and "factual" biographies of Strauss-Kahn, the trial, and his long-suffering and deep-pocketed wife (from whom he's now separated) Anne Sinclair.

And what's the betting there'll be many more.

TV of course got in on the act pretty quickly with the US series "Law and Order: Special Victims Unit" borrowing heavily from what reportedly happened in one of its episodes.

And let's not forget the big screen.

French director Abel Ferrara's plans to begin shooting a film inspired by DSK and his political sex scandals, starring Gérard Depardieu (a custom-made bit of casting in terms of physique?) in the main role with Isabelle Adjani as Sinclair might have been put on hold for the moment.

Lack of funding apparently.

But there is of course the x-rated version "DXK" made by Christophe Clark in 2011 which...actually you probably don't need it spelling out.

Watch the accompanying trailer if you feel so inclined, although you'll need to sign in and agree to the conditions before YouTube will allow you access.



The play "Suite 2806" opens at the Théâtre Daunou in Paris on November 21 and runs until the end of the year.

Carla Bruni-Sarkozy parody at theatre awards - mother "not amused"

Last weekend saw the annual La Nuit des Molières in Paris, the French national theatre awards ceremony.

The event, now in its 25th year, gives thespians and fellow luvvies from the French theatre world the chance to indulge in some self-congratulatory back slapping.

It's broadcast live on French television because of course it's part of the country's cultural heritage, but sadly it doesn't really pull in very high ratings.

This year's edition, carried on France 2, attracted fewer than two millions viewers; a shame really as the show was far from being as dull as many might have feared and indeed featured something of a highlight that made quite a buzz both on the Net and the mainstream media.

It was the performance given by Michel Fau.

Michel Fau, (screenshot from YouTube clip)

The actor-director wasn't actually at the ceremony to be awarded anything.

Instead he was what might be called "light relief"

He entered dressed to the nines as an opera diva and gave a rather special version of Carla Bruni-Sarkozy's "Quelqu'un m'a dit".

The whole thing was an excerpt from his 2010 show in Paris "L'Impardonnable Revue Pathétique Et Dégradante De Monsieur Fau" in which he performed music-hall style tributes in appropriate garb of some of his favourite singers.

It was of course a parody and most in the audience seemed to find it amusing, including the minister of culture Frédéric Mitterrand and two women rather close to France's first lady; her sister, Valeria Bruni-Tedeschi, and her mother Marisa Borini.

Well that's how some initially interpreted the reaction of Bruni-Sarkozy's family.

But as the website of, among others, the weekly news magazine Nouvel Observateur pointed out, the smiles of the two women looked just a little too determined and forced for the camera.

Borini in particular was apparently far from pleased at Fau's onstage antics.

And according to the French celebrity website Purepeople.com, the first lady's mother allowed her "displeasure to be felt backstage, after the awards ceremony was over."

Oh well, it was just a bit of harmless entertainment, and surely Borini has heard more harmful comments and statements directed towards her daughter over the years.

And let's face it, Fau's performance gives the song...er...something extra.

Take a listen to both videos for a direct comparison.

Enjoy and oh yes, don't forget to smile.

Polish actor Krzysztof Kolberger dies at the age of 60

The funeral will be held in the Polish capital Warsaw on Thursday of one of the country's most well-known and popular actors, Krzysztof Kolberger.

He died last weekend at the age of 60 following a long battle with cancer.


A graduate of the Warsaw Academy of Dramatic Arts in 1972, Kolberger began his acting career at the Teatru Śląskiego in the southern Polish city of Katowice but shortly afterwards joined the National Theatre in Warsaw where he made his name and remained a member of the company until 1982 and rejoining it in 1999.

Making the transition from theatre to television and cinema, Kolberger became a household name in Poland and also worked with some of the country's greatest film directors including Andrzej Wajda and Krzysztof Zanussi.

He went on to become a director himself - both for theatre and opera, including what was acclaimed as a "spectacular recital dedicated to the memory of Pope John Paul II," which featured the poems of a "young Karol Wojtyła."

In his 40s Kolberger was diagnosed with renal cell carcinoma, undergoing surgery several times which he is quoted as saying "changed in a significant way his approach to life and career, including the way he acted on stage and the way he directed."

I met Kolberger just once, a few years after he had been diagnosed, and remember him as a gentle, smiling man who took an interest in others and did not dwell on his own health.

It was, as Christophe Musial - an art collector and personal friend of the actor - said, a characteristic of not only the way Kolberger lived his life but also dealt with his illness.

"Krzysztof obviously couldn't keep to a tight schedule after he was diagnosed with cancer, but that didn't prevent him from working," Musial said.

"He simply changed the focus somewhat of what he was doing, and although he was still active in the theatre, the bulk of his most recent performances were on Polish television and in film.

"In addition to that though he also travelled quite a bit around Poland giving recitals. He was renowned for the beautiful timbre of his voice and people just loved to listen to him reading poetry.


What has been the reaction in Poland to the news of his death?

"It's quite amazing how much coverage there has been on television and radio and in the newspapers and it's an indication of how popular he was.

His death has been major news; TV channels cleared their schedules to carry so many tributes from the world of theatre, television and film and replay some of his most popular films. They also repeated interviews Krzysztof had given over the years

And thinking about it, it's more than understandable. Here was someone who in his early 20s became a national heartthrob. He was attractive, adorable and a good actor into the bargain. Everyone loved him.

As the years went by and he matured, his popularity didn't wane. Perhaps because I knew Krzysztof as a friend, I had lost sight somewhat of how widespread his appeal was as an actor."



I read one tribute from the Polish actress Joanna Szczepkowska who said, "Krzysztof was always smiling. That is what we must remember. He did so much for us and chose to give us all a good feeling." What did she mean by that?

"She was right. Krzysztof really was always smiling.

Joanna also said that Krzysztof was 'almost saint-like in his qualities' and by that she meant he radiated a warmth and goodness and, although he might have been suffering, did so in silence and never made a great deal about being ill.

On the contrary. When he went public several years ago that he had cancer, it was almost as though he was trying to break a taboo in Polish society.

Krzysztof set an example. He didn't talk about how cancer was affecting him, instead he was very matter-of-fact about it, showing that he was determined to continue working and encouraging others in a similar situation not to be afraid of the illness, not to give up the fight and to make the most of their lives.

I remember him saying once in an interview that it was as though he had a friend inside of him. 'It's my cancer,' he said. 'And we have to learn to live together.'

He also said that one of the most important moments of his career was when Polish television asked him to read the spiritual testament of John Paul II after the Pope’s death.

Krzysztof thought John Paul II was an inspiration in the way he coped with his illness not hiding it, not being afraid of it and not giving up.


You said tributes had been pouring in ever since Krzysztof's death was announced, not only for his acting ability but also for the way he publicly handled his illness in later years. What personal memory do you have of him that has left a lasting impression upon you?

"I remember a few years ago, shortly after Krzysztof had been through a major operation, I was at his home and he appeared weak, exhausted and had difficulty moving or even speaking.

That didn't stop him from returning to the theatre a couple of days later playing just a small role in which he was required to rush on stage, jump over some obstacles and begin shouting.

When I saw him perform, I couldn't believe it was the same man I had seen a few evenings previously. He was so full of vitality.

After the show though he was exactly the same as he had been before; drained and tired.

'Where had all the energy come from?' I asked him, amazed that he had been able to perform in the way he had.

'Ah you forget,' he replied.

'I'm an actor.'"

Krzysztof Kolberger, born Gdansk August 13, 1950, died Warsaw January 7, 2011

Paris is alive to "The Sound of Music" - apparently

Ask many a native English speaker to hum or sing a tune from the musical "The Sound of Music" and the chances are they'll at least be able to break into song.

Most could probably make a reasonable bash at "My favourite things", "The hills are alive", "Do-re-mi", or "Climb ev'ry mountain" just to mention a few of the Richard Rodgers and Oscar Hammerstein numbers that have become standards over the years.

But that's not necessarily the case here in France, as the popular presenter and comedian, Laurent Ruquier acknowledged on his daily radio show last week, when he and his assembled crew, were hard pushed even to name one song.

That could be about to change though because the 1959 musical is (unbelievably) receiving its first staging in this country, and once again it's audiences at the Théâtre du Châtelet in Paris who are enjoying some of the unquestionably most memorable and singable songs in the history of musicals.

The Sound of Music, or "La Mélodie du bonheur" as it's rather poetically called in French is 50 years old.



Reviews for Spanish director Emilio Sagi's staging have been full of praise. "A little jewel" said the national daily, Le Monde.

"The audience was on its feet, applauding enthusiastically," wrote Le Figaro after opening night.

Indeed it is rather special. It's a Broadway musical which combines opera singers in the lead roles of Maria, the soprano Sylvia Schwartz and as Georg von Trapp, the baritone Rod Gilfry, alongside established actors/singers such as Kim Criswell as the Mother Abbess.

And that's not forgetting, for Le Monde, "the seven adorable and lively offspring of the Baron" or the Orchestre Pasdeloup under the musical direction of Kevin Farrell as well as the Choeur du Châtelet, the choreography and acting, which after almost two months of rehearsals offer audiences a polished and rounded production.

But there's something missing especially for those who might be more familiar with, and therefore hoping for, the schmaltz and kitsch of the Oscar-winning 1965 film version.

It's somehow just not as escapist or as heartwarming, and of course there's no Julie Andrews.

The spark seemed to be missing.

Although there were some laughs at the mannerisms and light comic touches throughout, and applause after each "number", on the whole members of the public at Saturday's matinee performance remained polite and restrained, perhaps reflecting on the fact that they only had a few days left to prepare for Christmas, or were wondering what had happened to the heating in the auditorium.

And then there were some rather puzzling and distracting French surtitles, projected either side of the stage throughout the performance that rather missed the nuances of Hammerstein's lyrics.

Among the critics there has been general enthusiasm for the production with the recommendation that it's a "must see" for those in Paris over the holiday season.

Perhaps the best way though is to judge for yourself.

Or you could always settle down with a DVD of the film in the comfort of your own home and indulge to your heart's content.

The Sound of Music continues its run at the Théâtre du Châtelet in Paris until January 3, 2010.

Justine Henin - from centre court to centre stage

Belgium's former world number one tennis player, Justine Henin, will take to the stage later this year when she makes her theatre debut.

According to the Belgian news agency Belga, Henin is slated to play the part of Chloé in the play "Arrête de pleurer Pénélope!" from October.

It's a long-running comedy that has played to packed houses throughout France and which revolves around the lives of three 30-something women "waving goodbye" to their youth.

The role of Chloé is described as "an intellectual who's always asking question about love and never understanding it."

Although it'll be Henin's first attempt at treading the boards, it won't be her first stab at acting.

In May this year she appeared in an episode of the daily French soap opera "Plus belle la vie", although regular viewers might be forgiven for having missed it as she popped up on screen for just a few seconds to deliver her lines.

And she has also recently appeared on Belgian television in a programme entitled "Les douze travaux de Justine Henin", which as the name suggests challenged her to undertake certain tasks such as "singing" (you can judge for yourself whether you think the inverted commas are necessary) alongside singer-songwriter Salvatore Adamo.

Ahem. Perhaps the kindest thing to say is that her performance was one which didn't exactly live up to her abilities on the tennis court.

And if it's an indication of what theatre-goers to the Belgian capital can expect later this year, maybe now is the time to rethink her job options.

Henin of course had a glittering career in tennis, winning seven Grand Slam titles, including four at the French Open. She also picked up the gold medal at the Olympic games in Athens in 2004.

The only title that eluded the 27-year-old, in spite of two appearances in the tournament's final, was on the grass courts of Wimbledon.

To the surprise of many in the tennis world, she quit the professional circuit in May 2008 just weeks before she would have defended her title at Roland Garros.