Joseph Gorgoni: “This is my last review, because it’s getting exhausting”

From November to February, Place Bellerive in Lausanne will host the Pavillon Naftule, a 450-seat ephemeral theater, supplemented by a 200-seat foyer in a “café-theater” configuration. Imagined by producer Sébastien Corthésy and the Jokers Comedy teams, this ambitious project was carried out in less than a year, without any public aid or sponsor. With a self-financed budget of 1.6 million francs, this unique place pays tribute to Pierre Naftule, a major figure in French-speaking humor who died in 2022, by perpetuating his values ​​of excellence and conviviality.

In three months, more than 130 performances will take place, bringing together key figures like Blaise Bersinger, Nathanaël Rochat, Nathalie Devantay, as well as a new show by Thomas Wiesel and the Revue de Lausanne. In the latter, the public will find Joseph Gorgoni for the last time, whose career was propelled by Naftule more than thirty years ago. Moved to discover this new scene set up on the banks of Lake Geneva, he confides: “He would have loved the idea.”

During the press conference, we spoke with the 58-year-old comedian to discuss his special relationship with Pierre Naftule, this genius writer, producer and director who has had such an impact on the French-speaking scene.

How are the rehearsals going for the Lausanne review which will take place from November 13 to December 31?

I think it’s been almost eight weeks of rehearsals. I had somewhat forgotten what it was like to set up a project of this scale, even though I have already done a lot of reviews. That’s why I told Sébastien Corthésy that I would do it this year: because of the Pavillon Naftule and because Florian (editor’s note: his companion) is on stage with me. It was important for me to be there this time. But this review will be the last for me. It gets exhausting.

Exhausting, that is to say?

We are fully dedicated to it. It’s a bit like immersion in a “magazine cult” for several months, without time to do anything else. I’m used to totally immersing myself in my shows, but this is work that requires a lot of energy, with all the costume changes in particular. I’m getting by, but I’m approaching 60, and I feel like it’s a good time to slow down a little.

How does it feel to see the Naftule Pavilion completed?

I am very moved. A few weeks ago, I came to see the first progress, but I haven’t returned since, because we had a lot of work. Arriving this week, I was struck by the scale of what has been accomplished. Seeing the name Naftule in a big way like that is impressive. I think he would have liked it a lot, and without him we wouldn’t be here. Of course, I would have pursued projects, but it was he who supported us from the start, me, Thomas Wiesel, Sébastien Corthésy, Blaise Bersinger, all those who work with us today. It’s thanks to Pierre that we had our chance.

You seem very touched by the result.

We wanted to do something in his honor, to pay tribute to everything he did for us. And I find the result magnificent. It’s touching and lives up to its mark on our lives. I’m really impressed.

To finance the Pavilion, you have not received any benefits from the canton, the city or from other sponsors. You and other colleagues decided to contribute to it yourself, right?

Setting up a project of this scale is expensive. I told myself that the best way to help is to continue to put on shows, attract audiences, and see how that can contribute. Fortunately, I have no financial worries. Please note, this does not mean that I will be willing to work for free. (Laughs.) But for this particular cause, I am quite willing to accept not receiving a salary for a few months.

Do you remember your first meeting with Pierre Naftule?

I was in Paris, where I had just finished four years of “Rocky Horror Show” and “Cats” as a dancer. I returned to Switzerland to spend time with my family, whom I no longer saw much. It was then that Mina, a childhood friend whom I have known since I was 12, who was my choreographer and whom I consider like a sister, told me about Pierre Naftule. She told me he was looking for dancers for his revue. At that time, I was waiting for a response from Paradis Latin in Paris, and I was not really interested in this project. But she encouraged me: “Go do the audition, you never know, it can always be useful.”

And you got the role?

So I did the audition, and Pierre made me sign an amendment to the contract right away. As soon as he saw me, he knew that I had four years of experience, that I sang, and he undoubtedly saw the somewhat comical side of my personality. It was the first time that such an opportunity happened to me, and he asked me to participate in the Geneva review in November. What’s funny is that three weeks later, I finally received a response from Paradis Latin who hired me.

Then a few years later, he helped you create the character of Marie-Thérèse Porchet.

He first entrusted me with the role of the pope at the time in the Geneva magazine. That’s when I discovered I could make people laugh. In 1993, that’s where Marie-Thérèse was born: it was a voice that I did simply to amuse my dancer friends, and it made them laugh a lot. We then put together this crazy story together with Pierre. We had a unique professional relationship.

What memories do you have of Pierre Naftule?

He was truly an extraordinary person, in the truest sense of the word. There was nothing ordinary about him. He was an entrepreneur who had an adoration for artists. An atypical character, sometimes difficult. But between us, it worked. If we hadn’t worked together, I probably would never have met someone like him, we were so different. He was unique, with extraordinary talent and a strong character. But we forgave him everything, he was so exceptional.

Your tour was sold out everywhere in French-speaking Switzerland this year. Did you hope for this success?

It’s even better than I imagined. It’s always the same thing: when I say that, people have a hard time believing me. But I constantly doubt, and the more the years go by, the more difficult it is. I always have this feeling that it won’t work anymore, that people will get tired of it. I know it’s strange after 30 years of career, but I’ve never really felt like I’ve gotten anywhere.

When Pierre left, I wondered how I was going to continue, because I had never done anything without him. When I started writing the show “Transplanted,” it was the first time I worked alone on a project. Sébastien Corthésy helped me, and Pierre supported me a little at the time, but it was a real challenge. This show finally proved to me that I could succeed in creating something more or less alone. I had to keep going, find a way to get back up. And then Marie-Thérèse, it’s the same. After 30 years, I couldn’t give up this character that people care so much about.

Have you had a bit of imposter syndrome?

I felt it for a long time. Now it’s better. But there is always this doubt. For people, it’s often incomprehensible when I say that I’m never sure of myself. At the beginning, I was perhaps a little less nervous, because you have nothing to lose when you start. But after 30 years, things change. The rooms fill up before I’ve even written a single line, and sometimes I say to myself: “People have to be satisfied.” It’s a pressure that still worries me a little, but we learn to live with it.

Any additional projects coming soon?

So, I have several projects in progress that I can’t talk about yet, because nothing is really confirmed. But yes, for the next two years, I have a lot of things planned.

And how is your health?

Honestly, I’m a little out of breath, as I had sort of a relapse last Christmas. I still cough and get short of breath from time to time, but I can continue to live and work. I adapt. There’s also age, of course. (Laughs.) No matter how much we say, I’m not young anymore, and it’s already incredible to still be able to do all that. I have to be particularly vigilant during this period, especially with Covid, because I am immunocompromised. My greatest pleasure is meeting people after the show, but unfortunately I don’t do that anymore, since I have to take care of my health.

Pavillon Naftule: find all the information and tickets on the website