Nov 11, 2024 |
Comments closed on Miss Knife Forever, design by Oliver Py, at the Théâtre du Châtelet
© Thomas Amouroux
f article from Denis Sanglard
Miss Knife had told us the joke of a first goodbye. Here she comes back, indestructible, to the Châtelet please, as if she needed this setting to celebrate forty years and the dust of a career started in the circus, knife thrower (Night at the circusby Olivier Py, at the Théâtre du Peuple in Bussang). In this foyer of the theater now directed by Olivier Py, his avatar, unless it is the opposite, wigged with platinum blonde hair, corset gleaming with junk jewelry, a little air of Mae West matinee of Marie Marquet (for those who known), somewhat stuffed by the weight of the years, heir to Damia and Suzie Solidor, realistic singers and sisters, she sings the goualante of dented loves, toxic loves without which the realistic song would not be, of time that passes and beats you , of a checkered career, “already out of fashion before it even began”, in other words still relevant, hence the title Miss Knife Forever. Words by Olivier Py, whose compliment she pays – hay of modesty – and music by Antoni Sykopoulos, also on the piano and who does not hesitate to give voice. Careful writing, poignant texts, fitting subjects and melodies like so many scintillating and flashy adornments for these little jewels of literature, necklaces of rhinestones and tears, of blows and bruises to the soul for a Miss Knife who resists everything, past loves, twisted blows, lost years that will never come back, the dark and tenacious melancholy that poisons and poisons you.
Miss Knife has aged well, they say. Gentrified even. Because where did our skinned diver go, the one who made her years of hardship, her ephemeral loves, a fight, a commitment, head up and head held high against the patriarchy, ordinary homophobia, tired of everything but extra-lucid , a lesson in life and theater – which sometimes amounts to the same thing -, singing on a fragile ridge between disguised immodesty and pain welcomed like a sister so as not to sink into sorrow, that lack of taste which ruins your makeup. Where has the free and libertarian spirit of a shady and subversive cabaret gone, of which only the disguise remains, the tinsel of an art which was transgressive, “adultery of great art”, and which here in this home we struggle to to find? Olivier Py only tells stories, sublimating the usual clichés with his talent through his chiseled writing, but nothing but stories into which the noise of the world, the memory of the battles, the destitute generations of which she no longer enters. was the flayed witness. The provocative humor, the caustic mood, the murderous phrase have given way to the joke and the egocentric satisfaction of being there, in front of an established audience, in this home of a theatrical institution that Olivier Py now directs. Would Miss Knife have nothing left to say to do nothing other than a simple histrionic act?
Miss Knife Forever, conception d’Olivier Py
Chant : Olivier Py
Piano: Antoni Sykopoulos
Costumes : Pierre-André Weitz
Lumières : Bertrand Killy
Sound: Dominique Cherprenet
Until November 12, at 8 p.m.
Châtelet Theater
Place du Châtelet
1 Place du Châtelet
75001 Paris
Reservation: www.chatelet.com
