Letter from Paris: Marie Béatrice Di Savona
584
The other day I got a phone call from Marie-Alice
Béraud, the owner of Hôtel La Serre on rue Cler, which is listed in my
new book, Romantic Paris. Marie-Alice came to one of my recent book
signings, got my book, and enthusiastically phoned me the next day
after recognizing the lyrics of les Prénoms de Paris in my book. She
had just seen the song staged in a new musical show, Bonjour Monsieur
Brel, and urged me to see the performance. This is one of Brel’s lesser
known love songs, but it’s the one I chose, among all the hundreds of
French love songs that I know, because it epitomizes the experience of
falling in love in Paris. As Marie-Alice had only words of praise for
the show, I immediately penciled it in my diary and phoned the theatre
a few hours later to make reservations.
The
show is playing at the Sudden Theatre–a few steps away from place
Jules Joffrin, due north of Montmartre. This is the “good” part of the
18th (le bon dix-huitième), meaning the socially respectable section of
the arrondissement. This also suggests the safer part (contrary to le
mauvais dix-huitième) which implies the colorful, African La
Goutte-d’Or and the Dickensian La Chapelle, to be avoided after dark
when on your own). Place Jules Joffrin is the “village square” of the
18th arrondissement, genuine and vibrant with the timeless frills of
provincial France. It may not boast the picturesque charm of
Montmartre, but by the same token it is less touristy and less spoiled.
As I climbed out of the métro station, I was greeted at street level by
the festive Mairie, brightly festooned with light bulbs and a Joyeux
Noël inscription. The cheerful light bulbs extended the festive
atmosphere into the neighboring side-streets without the glamour of the
Champs-Elysées, but with a homey touch that is so pleasingly French. It
was a cold night as it should be, alas without any snow (we haven’t had
a white Christmas in Paris for donkey’s years). We were early and
stopped for a hearty, basic meal at the brasserie that has a great view
of the Mairie. The place was packed with people. Fresh oysters,
substantial portions of steak, French fries, red wine, and other
traditional brasserie dishes were whisked from the kitchen to the
restaurant tables by harried waiters in the midst of the characteristic
din of a French restaurant, created by a concert of contented diners. We
were fully content ourselves by the time we were ready to make our way
to the theatre, a relatively recent neighborhood place, opposite a
synagogue that I didn’t know and will have to check out in the near
future. This is one of the things I love about Paris–there is always
something new to discover. Since my new book has shifted me into a
romantic gear, I am constantly watchful for romantic stories, what is
called in French déformation professionnelle (professional distortion)
and I prick my ears whenever I hear something about couples or lovers.
I was therefore delighted to be told that Bonjour Monsieur Brel is the
joint venture of husband and wife: Yves Lévêque, Premier Prix de la
Chanson française, who oversaw the musical aspect of the show; and
Marie Béatrice Di Savona, who selected the songs and staged them into a
string of miniature tableaux that flowed into one another. Marie
Béatrice Di Savona’s work brings to life Brel’s familiar characters
whom we have been humming all these years: Jef, so clumsy and shy as he
offers his candy doggedly to the cruel members of the fair sex; his
sister Mathilde, Marieke, Madeleine who stands up her suitors; Gaston
who is so madly in love with Rosa; the port of Amsterdam with its
sailors and whores; pathetic (sometimes funny) slices of life played
out by the young and energetic troupe of La Compagnie Ad Libitum, who
are paying advance homage to Brel in this “his” year (2003), the 25th
anniversary of his passing. Although none of them could render Brel’s
unique and inimitable voice, their enthusiastic youthfulness and
commitment was incredibly communicative and the audience gave them a
standing ovation. I, for my part, was moved by the fact that such young
kids, some of whom (or all of whom?) were not even born when Brel died,
were so involved in his songs, a proof (if need be) that la chanson
française (and belge…) is alive and kicking, and worth your outing
even if your French is iffy. MERRY CHRISTMAS! Bonjour Monsieur BrelSudden Theatre14 bis, rue Sainte Isaure, 75018 ParisMétro Jules JoffrinReservations: 01 42 62 35 00Through January 5th, 2003
Copyright © Thirza Vallois —Thirza Vallois is the author of Around and About Paris, Volumes I, II, & III published by Iliad Books, UK, and Romantic Paris, co-published by Interlink (US) and Arris Books (UK). Visit her at www.thirzavallois.com
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The other day I got a phone call from Marie-Alice
Béraud, the owner of Hôtel La Serre on rue Cler, which is listed in my
new book, Romantic Paris. Marie-Alice came to one of my recent book
signings, got my book, and enthusiastically phoned me the next day
after recognizing the lyrics of les Prénoms de Paris in my book. She
had just seen the song staged in a new musical show, Bonjour Monsieur
Brel, and urged me to see the performance. This is one of Brel’s lesser
known love songs, but it’s the one I chose, among all the hundreds of
French love songs that I know, because it epitomizes the experience of
falling in love in Paris. As Marie-Alice had only words of praise for
the show, I immediately penciled it in my diary and phoned the theatre
a few hours later to make reservations.
The
show is playing at the Sudden Theatre–a few steps away from place
Jules Joffrin, due north of Montmartre. This is the “good” part of the
18th (le bon dix-huitième), meaning the socially respectable section of
the arrondissement. This also suggests the safer part (contrary to le
mauvais dix-huitième) which implies the colorful, African La
Goutte-d’Or and the Dickensian La Chapelle, to be avoided after dark
when on your own). Place Jules Joffrin is the “village square” of the
18th arrondissement, genuine and vibrant with the timeless frills of
provincial France. It may not boast the picturesque charm of
Montmartre, but by the same token it is less touristy and less spoiled.
As I climbed out of the métro station, I was greeted at street level by
the festive Mairie, brightly festooned with light bulbs and a Joyeux
Noël inscription. The cheerful light bulbs extended the festive
atmosphere into the neighboring side-streets without the glamour of the
Champs-Elysées, but with a homey touch that is so pleasingly French.
show is playing at the Sudden Theatre–a few steps away from place
Jules Joffrin, due north of Montmartre. This is the “good” part of the
18th (le bon dix-huitième), meaning the socially respectable section of
the arrondissement. This also suggests the safer part (contrary to le
mauvais dix-huitième) which implies the colorful, African La
Goutte-d’Or and the Dickensian La Chapelle, to be avoided after dark
when on your own). Place Jules Joffrin is the “village square” of the
18th arrondissement, genuine and vibrant with the timeless frills of
provincial France. It may not boast the picturesque charm of
Montmartre, but by the same token it is less touristy and less spoiled.
As I climbed out of the métro station, I was greeted at street level by
the festive Mairie, brightly festooned with light bulbs and a Joyeux
Noël inscription. The cheerful light bulbs extended the festive
atmosphere into the neighboring side-streets without the glamour of the
Champs-Elysées, but with a homey touch that is so pleasingly French.
It
was a cold night as it should be, alas without any snow (we haven’t had
a white Christmas in Paris for donkey’s years). We were early and
stopped for a hearty, basic meal at the brasserie that has a great view
of the Mairie. The place was packed with people. Fresh oysters,
substantial portions of steak, French fries, red wine, and other
traditional brasserie dishes were whisked from the kitchen to the
restaurant tables by harried waiters in the midst of the characteristic
din of a French restaurant, created by a concert of contented diners.
was a cold night as it should be, alas without any snow (we haven’t had
a white Christmas in Paris for donkey’s years). We were early and
stopped for a hearty, basic meal at the brasserie that has a great view
of the Mairie. The place was packed with people. Fresh oysters,
substantial portions of steak, French fries, red wine, and other
traditional brasserie dishes were whisked from the kitchen to the
restaurant tables by harried waiters in the midst of the characteristic
din of a French restaurant, created by a concert of contented diners.
We
were fully content ourselves by the time we were ready to make our way
to the theatre, a relatively recent neighborhood place, opposite a
synagogue that I didn’t know and will have to check out in the near
future. This is one of the things I love about Paris–there is always
something new to discover. Since my new book has shifted me into a
romantic gear, I am constantly watchful for romantic stories, what is
called in French déformation professionnelle (professional distortion)
and I prick my ears whenever I hear something about couples or lovers.
I was therefore delighted to be told that Bonjour Monsieur Brel is the
joint venture of husband and wife: Yves Lévêque, Premier Prix de la
Chanson française, who oversaw the musical aspect of the show; and
Marie Béatrice Di Savona, who selected the songs and staged them into a
string of miniature tableaux that flowed into one another.
were fully content ourselves by the time we were ready to make our way
to the theatre, a relatively recent neighborhood place, opposite a
synagogue that I didn’t know and will have to check out in the near
future. This is one of the things I love about Paris–there is always
something new to discover. Since my new book has shifted me into a
romantic gear, I am constantly watchful for romantic stories, what is
called in French déformation professionnelle (professional distortion)
and I prick my ears whenever I hear something about couples or lovers.
I was therefore delighted to be told that Bonjour Monsieur Brel is the
joint venture of husband and wife: Yves Lévêque, Premier Prix de la
Chanson française, who oversaw the musical aspect of the show; and
Marie Béatrice Di Savona, who selected the songs and staged them into a
string of miniature tableaux that flowed into one another.
Marie
Béatrice Di Savona’s work brings to life Brel’s familiar characters
whom we have been humming all these years: Jef, so clumsy and shy as he
offers his candy doggedly to the cruel members of the fair sex; his
sister Mathilde, Marieke, Madeleine who stands up her suitors; Gaston
who is so madly in love with Rosa; the port of Amsterdam with its
sailors and whores; pathetic (sometimes funny) slices of life played
out by the young and energetic troupe of La Compagnie Ad Libitum, who
are paying advance homage to Brel in this “his” year (2003), the 25th
anniversary of his passing. Although none of them could render Brel’s
unique and inimitable voice, their enthusiastic youthfulness and
commitment was incredibly communicative and the audience gave them a
standing ovation. I, for my part, was moved by the fact that such young
kids, some of whom (or all of whom?) were not even born when Brel died,
were so involved in his songs, a proof (if need be) that la chanson
française (and belge…) is alive and kicking, and worth your outing
even if your French is iffy.
Béatrice Di Savona’s work brings to life Brel’s familiar characters
whom we have been humming all these years: Jef, so clumsy and shy as he
offers his candy doggedly to the cruel members of the fair sex; his
sister Mathilde, Marieke, Madeleine who stands up her suitors; Gaston
who is so madly in love with Rosa; the port of Amsterdam with its
sailors and whores; pathetic (sometimes funny) slices of life played
out by the young and energetic troupe of La Compagnie Ad Libitum, who
are paying advance homage to Brel in this “his” year (2003), the 25th
anniversary of his passing. Although none of them could render Brel’s
unique and inimitable voice, their enthusiastic youthfulness and
commitment was incredibly communicative and the audience gave them a
standing ovation. I, for my part, was moved by the fact that such young
kids, some of whom (or all of whom?) were not even born when Brel died,
were so involved in his songs, a proof (if need be) that la chanson
française (and belge…) is alive and kicking, and worth your outing
even if your French is iffy.
MERRY CHRISTMAS!
Bonjour Monsieur Brel
Sudden Theatre
14 bis, rue Sainte Isaure, 75018 Paris
Métro Jules Joffrin
Reservations: 01 42 62 35 00
Through January 5th, 2003
Sudden Theatre
14 bis, rue Sainte Isaure, 75018 Paris
Métro Jules Joffrin
Reservations: 01 42 62 35 00
Through January 5th, 2003
Copyright © Thirza Vallois
—
Thirza Vallois is the author of Around and About Paris, Volumes I, II, & III published by Iliad Books, UK, and Romantic Paris, co-published by Interlink (US) and Arris Books (UK). Visit her at www.thirzavallois.com
Thirza Vallois is the author of Around and About Paris, Volumes I, II, & III published by Iliad Books, UK, and Romantic Paris, co-published by Interlink (US) and Arris Books (UK). Visit her at www.thirzavallois.com
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