In Saint-Etienne, Benoît Lambert stages with finesse the piece of Molière.
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From the Molière, Molière, Molière! Always from the Molière! It is everywhere, in this year 2022 which celebrates the 400 e anniversary of its birth. But we do not get tired. At least when it is staged and played with talent, which is the case with this avare created at the comedy of Saint-Etienne by Benoît Lambert, who inaugurates with him his mandate at the head of this national drama center.
The director signs a beautiful show without Ebroufe, which is part of a classicism resulting from Brechian modernity, and in particular in line with the work of regretted Jean-Pierre Vincent. The finesse of playing the room, the balance between drama and comedy, the refinement of the decor and the costumes and the living game and full of freshness are conjugated here for the greatest happiness of the public.
With the stingy, Benoît Lambert depicts a double twilight: that of an aristocratic world for the benefit of a silver bourgeoisie that will soon reign sustainably on the world. And that of Harpagon, made crazy by this obsession with the nascent money, which prevents him from living and letting the youth live and struggles around him.
complex of Class
His home, to this harpagon and narrowed, racougri on himself, holds both the haunted castle, the ship in perdition, the theater trestle and the stem to hang. The great idea of the Antoine Franchet scenographer, who also signs the beautiful clamping lights of the show, it is to show it alive in the midst of its wooden coffers, in which they are locked up all its treasures, of which it does not take advantage of not.
Harpagon enriched but, in that today a class complex, he is unable to enjoy this climb. His only enjoyment is the possession of this famous cassette, which he checks ten times a day if she is always in her place. It is a social displaced, as there are many at Molière, who puts a lot of himself in his characters. He is both odious and unfortunate, terribly hurt, as Benoît Lambert sees, and such as the cheek, subtly, the comedian Emmanuel Truth. He does not want to die, he does not want to leave the place to another generation, but he lives like a dead-living.
He faces him a youth that dreams of aristocratic values, freedom and love, and who will win the battle, since youth always wins at Molière. The avare is probably that of its pieces that offers the most beautiful roles of young people and girls, in their fight to exist against a selfish world, which suffocates them. These Jevencelle and Jouvechanters are wonderfully well played, by four comedians and comedians who have just come out of the School of the Comedy of Saint-Etienne or the School of School of Dramatic Art of Paris: Estelle Brémont (Elise), Baptiste, Baptist FEBVRE (Cleaning), Theophile Gasselin (Valerère) and Maud Meunissier (Mariane).
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