"Que d’espoir!": A Disappointing Cabaret Mirror?

Hanokh Levin, the Israeli playwright known for his darkly satirical cabarets, seems to lament, "Poor humans we are!" His work, exemplified in "Que d’espoir! Cabaret," published by Éditions théâtrales, offers a bleak and uncompromising vision of the human condition. Valérie Lesort, a multidisciplinary artist, inevitably gravitated towards Levin’s work, drawn to his sensitivity towards humanity and his scathing critique of it. For her production, Lesort selected "bravura pieces" from Laurence Sendrowicz’s French translations of Levin’s texts, including "The Transforming Hat," "The Hot Dog," "At the Hotel," "The Genesis," and "Monologue of a Woman in Bad Shape."

Levin spares no one, relentlessly exposing the dashed dreams, petty meanness, and base character of his fellow humans. He unflinchingly reminds them of the inescapable reality they constantly try to evade: death. Lesort, through her staging, aims to highlight these everyday miseries. Her characters, obsessed with themselves, are transformed by costumes and prosthetics reminiscent of Playmobil figures—a feat requiring the skilled hands of six artisans.

However, while the production is undeniably dark, it falls short of being truly subversive. Lesort, as playwright, actress, and visual artist, has perhaps too "freely" transposed Levin’s cruel and caustic sketches, creating a mirror that is ultimately unpleasant to gaze into. The result is an uneven patchwork, offering glimpses of existential poetry interspersed with vulgar and scatological farce. The audience audibly recoils at the sight of a stained backside or an untimely fart. It seems Lesort is not one to shy away from the coarse, evoking comparisons to Rabelais, albeit alongside less distinguished names. While entertaining, the production fails to evoke genuine emotion.

This lack of emotional depth may have been Lesort’s intention. Nevertheless, she has demonstrated her talent in past collaborations with Christian Hecq. Productions like "20,000 Leagues Under the Sea," "The Fly," "Gulliver’s Travels," and "The Hilton Sisters" immerse audiences in worlds that blend theatre, circus, and cabaret. Just recently, in April, her enchanting adaptation of Perrault’s fairy tales delighted audiences.

The cast of "Que d’espoir!" is not to blame for the production’s shortcomings. Lesort has once again assembled a talented ensemble. Céline Milliat-Baumgartner, who alternates with Lesort in the performance, previously played one of the Hilton Sisters. David Migeot played Théramène in Anne-Laure Liégeois’s production of "Phèdre" earlier this year. Hugo Bardin, appearing as Paloma, was the "first queen" of Drag Race France in 2022. Trained at the Cours Florent, Bardin is also an actor and director. Charly Voodoo, with his formidable celestial voice on the piano, is a star of the Madame Arthur cabaret. Regrettably, their talents are not showcased as effectively as they deserve.

The production ultimately feels disjointed and tonally inconsistent. The attempts at shock value, while present, often feel gratuitous and detract from the deeper themes that Levin’s work explores. While Lesort aims to expose the absurdity and cruelty of human existence, the production veers too frequently into lowbrow humor, undermining its potential impact.

The Playmobil-esque aesthetic, while visually striking, also contributes to the production’s emotional distance. The exaggerated costumes and prosthetics create a sense of artificiality that prevents the audience from fully connecting with the characters and their struggles. The focus on spectacle and visual gags overshadows the nuances of Levin’s writing.

Furthermore, the "free" adaptation of Levin’s sketches seems to have diluted their original power. By transplanting them into a new context without fully understanding their cultural and historical significance, Lesort risks trivializing Levin’s message. The production lacks the sharp satirical edge that defines Levin’s best work.

In conclusion, "Que d’espoir!" is a visually interesting but ultimately disappointing production. While the cast is talented and Lesort’s past work demonstrates her artistic vision, the production fails to capture the depth and complexity of Hanokh Levin’s writing. The uneven tone, gratuitous vulgarity, and emotionally distant aesthetic prevent the production from being truly impactful. The play leaves one entertained, perhaps, but not deeply moved or challenged. It runs at the Théâtre de l’Atelier Paris 18e until July 13.