The names of actresses who are not there to entertain the public are plastered in capital letters on the façades of private Parisian theatres, playing the role of cheated wives or stupid maids. Isabelle Carré, Sandrine Bonnaire and Isabella Rossellini: these actresses, popularised by the cinema, take shows out of their commercial routine to raise them to the height of an offensive intimate demand. They do not embody puppets, but exemplary figures, powerful in thought, effective in action, who assume the worst and the best of themselves. These actresses distill a certain dose of feminism into the heart of a private theatre, which is therefore unusual. They do it best when they are assisted by accomplices such as the director (Catherine Hiegel), the author (Géraldine Martineau) and/or the director of the place (Rose Berthet).
At the helm of the Théâtre de l’Atelier in Paris since 2022, Rose Berthet wants to renew the audience by mixing new blood with safe values. “You never know what will work, but we try to minimize the risks.” She explains. How? By entrusting the first part of the evening to a star with a very unifying talent (Fabrice Luchini). Then, as night falls, continuing with more risky projects. lost illusionsAccording to Balzac, a show currently being offered by Pauline Bayle, will be followed, in mid-October, by performances by The English Loverby Marguerite Duras, with Sandrine Bonnaire as headliner.
“Most dangerous projects”
Even if the ticket sales generated by Fabrice Luchini do not end up in the coffers of L’Atelier (the actor, who rents the room, keeps the profits), his notoriety is an advertising asset: “Its success allows me to plan more dangerous projects”says Rose Berthet, whose ambition is to defend creation and promote parity. “The lines are moving. The revival of shows created in the public theatre –this is the case of lost illusions – gives the works an additional chance to be seen. Younger generations are sensitive to offers that are no longer based solely on comedy and street entertainment. » Antoine Courtois, the owner of the establishment, leaves his hands free. “He trusts me and I have no specifications”greets the director, who still has the task of not generating a deficit.
Cold sweats guaranteed. Because there is no unstoppable recipe to captivate an audience tempted by the plethora of Parisian cultural offerings. Rose Berthet may be determined, but sometimes she sails by the sight: “We have a capacity of 560 seats. We rely on word of mouth, but we never know why a programme starts off strong or not.” Cautiously, he announces only thirty performance dates for The English LoverIf people come forward, this number will rise to sixty. Will Sandrine Bonnaire’s presence be enough to double the stakes? “I’m not looking for a movie star above all.defends Rose Berthet, But it is true that the name Sandrine can reassure. »
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