Here comes the sun, do, dun, do, do/ Here comes the sun, and I say/ It's all right Little darling, it seems like years since it’s been clear/ Little darling, it feels like years since it's been here/ Here comes the sun, do, dun, do, do/ Here comes the sun, and I say/ It's all right - Here Comes the Sun – George Harrison, 1969
France just reached nine thousand daily infections again, I hear. There are uncertainties but, under rational government, a bit of risk, even delicately calculated risk, is a reasonable bet – especially in something as important as the performing arts.
Gwénaël Morin’s Uneo uplusi eurstragé dies opens Atelier de Paris’s ten-day wonder Indispensable! program, heavy on new creation, with performances in open and closed space until mid-September. Indispensable! is my foot in the post-pandemic waters but also opens the 49th annual Festival d’Automne, the Paris theater, film, music, dance and visual and tactile arts program – which runs into February 2021.
Over the coming week I’ll be seeing, among others, artists who should have been featured in the Spring, at the Atelier’s June Events or the Printemps Arabe programs, or that, like Gwénaël Morin’s piece are also part of the Festival d’Automne. Performers on the Atelier’s Indispensable! program include Noé Soulier (at the Conciergerie); Thomas Hauert, Liz Santoro & Pierre Godard, and Carolyn Carlson, who proves that dance makes getting old unnecessary at any age. In late September, if all goes well, I’ll be seeing new circus performance by Bartabas, who demonstrates better than anyone the links of potential between species, dance by choreographers such as Jérôme Bel and Boris Charmatz. Charmatz is this year’s Festival d’Automne. I’m looking most forward to the psycho-perceptual genius playwright Nathalie Béasse new work Aux Eclats, a work she introduced as a WIP last Fall.
Perennials like Atelier de Paris and annuals like Festival d’Automne are not alone in opening in spite of different health-safety, programming and box-office challenges. Only under my hand here, among many other interior-only spaces, the privately-run La Scala Paris’ sophisticated contemporary performance space; the Palais de Chaillot’s Art Deco experience inside an esthetic experience and the gemütlich garden party atmosphere of Le Monfort in its nice little park way down south. Nathalie Béasse’s will open the 2020-21 program at Théâtre de la Bastille, intimate and polyvalent, a theater’s theater’s typical theater, with a nice little bar, too.
Right now at Chaillot you could see, free, among the expressionist splendor, Jann Gallois and Emmanuel Gat rehearsing absolutely new performances. At end of September, there’s the Echelle humaine dance-performance program in the tight and very unconventional space of Lafayette Anticipations. Echelle Humaine is also part of the Festival d’Automne’s performance program. There’s also the reprise of Micadanses with its Bien fait! program of new and in-progress work in the dance-school’s Arthaud-type basement space.
And there’s more quality work in quality venues starting up outside Paris such as the Ballet de Lorraine in the lovely 18thcentury town of Nancy. The eclectic intelligence of a program of Tharp, Tokugawa and Cunningham – For Four Walls, Flot, Transparent Monster, Plaisirs inconnus, The Fugue… – tells you all you need to know about the Lorraine ballet.
Comments