The show “Montmartre in songs” returns to the legendary places of the Butte such as the Chat Noir, the Moulin Rouge, Chez Patachou, Aux Trois Baudets, the Moulin de la Galette, the Maison Rose, Au Lapin Agile…
With accordionist Yann Cotty, they slip “into the shoes” of several emblematic Montmartre artists such as Aristide Bruant, Charles Aznavour, Georges Brassens, Édith Piaf, Dalida, Jacques Brel, Yves Montand, Claude Nougaro… by telling anecdotes surprising and performing songs.Anne-Sophie and Yann cover emblematic tunes such as La vie en rose, Le temps des Cerises, La Java bleue… and of course songs from the Montmartre repertoire: La Bohème, La Complainte de la Butte… but also unknown or forgotten pieces , referring to the places mentioned during the walk.
Tours of Montmartre in songs are suspended in winter.
During this period, the show “Montmartre in songs” is performed in Paris and will soon be on tour in several cities in France.
After a running-in period in spring and then winter 2023 at the Théâtre du Nord-Ouest, the show was performed at the Théâtre Montmartre Galabru between January and April 2024. It will be back on stage next winter.
“Putting “Montmartre in Songs” on stage, written by Anne-Sophie, included two major challenges.
The first was to properly represent the universe of each booklet. Whether “realistic” or “variety”, every song in this show is part of the heritage. No question of “betraying” his point. To be as faithful as possible, I drew on my memories of working with Mireille from the “Petit Conservatoire”. I have always been fascinated by his keen eye, which found the right tone, the right gesture and the exact attitude to best bring out an interpretation.
The second challenge was to bring these singers back to life before our eyes, via anecdotes told to the public. We discover the character of Piaf, Montand, Dalida, Fréhel. Everyone engages in small, intense moments of life. It was therefore fundamental for me to get as close as possible to their personality, to touch their humanity. Quite a “project” for Anne-Sophie to play and sing, and to be on the same page in her two arts.
So I built my production on real acting direction. This had to be effective, because it worked on the essential: simplicity and sincerity in the interpretation of songs and characters. As one of my drama teachers at the Conservatory recommended to me: “A production must be imperceptible, alone on stage, the artist and his performance must shine through.” So I hope my work is as discreet as possible. I would add that, as the great actor Charles Dullin said: “tonight, it’s not the machines we need, it’s the Gods.” I therefore leave you in the hands of Anne-Sophie, our great “Montmartre priestess”, with precious talent, with whom I had an immense pleasure working.
Good show !"
