September 19, 2021

Lyon rediscovers its festivals and the way of shows

For a recovery, it’s a recovery. As when getting out of bed and rather poorly awake, Camille arrives on the stage of the Grand Théâtre de Fourvière and leaves just as dry. False start ? Forgotten costume? Too many emotions? Applause from the audience, slight ululation, she comes back and it starts. In a half-sport, half-glitter, barefoot jumpsuit, the singer launched the joint opening, Tuesday 1is June, the Nuits de Fourvière and the Biennale de la danse de Lyon with Alarm Clocks, show directed by South African choreographer Robyn Orlin. A few minutes later, while one of her gags takes water while she pretends to be a fish, Camille gently calls out to the spectators to remind them that “It’s the recovery for everyone! “, way of saying that she is paddling a little and that she needs “That we be more involved in its contests”. Immediate laughter. So, seal or whale? Dolphin! We’re here, Camille!

Strange and sweet evening in full light that this solo concert, at 7:30 p.m. due to curfew at 9 p.m., of one of the most important multidisciplinary French festivals. Dominique Delorme, boss of an event celebrating its 75e birthday until July 30, spoke, in the introduction, of “Catch your breath”. Well, it’s done, and quietly. Paradoxically, the 999 spectators, who settled without haste in the stone arena, whose ordinary capacity is 3,000 people, do not seem too sparse. They listen to Camille’s funny humor, her mood swings, without falling into the howling participatory. Very warm rounds of applause will greet the performance.

35% gauge

Resumption, therefore, in every sense of the word, from mending to repairing, through reworking. Camille tells and comments live, most often lying on a huge patchwork in front of a camera which films her in close-up, the story of this production which was to be created in 2020. Alarm Clocks, fourth collaboration of Camille and Robyn Orlin, is a show on water, but without water, in its discreetly ecological way. He had to rely on the South African male choir of Phuphuma Love Minus, but is finally done without him, due to the closure of the borders of South Africa: two videos recall their talent. It is advertised as a Camille concert, but does not quite resemble him, because without musicians.

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