Global warming and the exploitation of women. Collapsology and patriarchy. The link between these concepts? The five actors of the collective The Advantage of Doubt will do their best to demonstrate it to us over the course of this show that is as powerful as it is ingenious. “We”, that is to say the public, taken to task from the start when the spectators still earn their place. A certain Bernard in briefs and a leather jacket harangues the room, microphone in hand, with his cheeky cheeky delivery. Wrapped in white togas, the four other actors enter the scene, trying, between the vociferations of said Bernard, to explain to us that they are eco-responsible. The costumes and sets – a hodgepodge of rough wooden tables, clothes thrown in a heap on the floor, truncated Greek columns… – were salvaged and recycled. Even the stage curtain displaying a forest landscape.
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A committed word
There are therefore five of them, all just impressive: Mélanie Bestel, Judith Davis and Claire Dumas (who embodies the famous Bernard) on the female side, Nadir Legrand and Maxence Tual, a former member of the Compagnie des Chiens de Navarre, on the male side. And since their meeting during an internship carried out within the Flemish company Tg Stan, they have worked collectively on the writing of their plays and the editing of their shows, each one sharpening his role according to his sensitivities and his concerns of the moment. Author-actors who provide the staging themselves and engage their words, always attentive observers of the issues that shake society.
Ecology and feminism
After the addiction of young people to screens (The cave in 2018) or labor servitude (The Legend of Borneo in 2012), More, everywhere, all the time thus seizes questions of ecology and feminism, themes that they will intertwine in several skits carried out with a beating drumbeat. A dinner with friends that turns into a fight – the rib of beef is not to the taste of vegetarians; a couple who took refuge in Noirmoutier to live “authentically” –, she who finds herself with the same mental load as before, he still unable to find the jar of mustard in the fridge; a son who yells his anger and frustration at his father, accusing him of immobility, according to him the cause of global warming; a woman who is blamed for her non-desire to have a child… Humor, often ferocious, and a touch of madness come to the aid of the subject, and we laugh frankly – sometimes outrageously – when our contradictions are so brilliantly displayed in the big day.
On the stage of the Théâtre de la Bastille, all against the light and chiaroscuro – a special mention to Mathilde Chamoux for her superb work on the lights – the present and the future of our world in perdition are thus played out. While to a tune by Michel Berger, beautifully interpreted on the keyboard by Judith Davis, a life-size white bear roams on its piece of ice…