Jeunesse
Jeunesse
Mephisto
based on the novel by Klaus Mann, conception and direction by Jérémie Lebreton, text by Joseph Olivennes and Jérémie Lebreton, Les Barbares company
Over forty years ago, Ariane Mnouchkine created her Méphisto based on Klaus Mann’s novel, subtitled “the novel of a career.” The scandalous character of Hendrik Hofgen returns to haunt the Cartoucherie as part of the Départ d’Incendies festival. This festival brings together five productions by young companies throughout June in the rehearsal hall of the Théâtre du Soleil.
Young director Jérémie Lebreton is the mastermind behind this adaptation, which he revives after originally staging it for his graduation from La Manufacture in Lausanne. This ambitious, highly detailed, and elaborate project seeks to recreate an entire universe through fiction and real history, as well as through all the resources that theater offers, with "costumed" characters in vibrant colors, multiple spaces, and dynamic lighting effects.
This universe is that of the rise of Nazism and the divisions among intellectual and artistic circles during the Weimar Republic. It’s important to highlight the complementary work between dramaturgy (Joseph Olivennes), set design (Christian Bovey), costumes (Héloïse Bouchot), lighting (Henri Coueignoux), and choreography (Milo Gravat) to portray this era and milieu.
The plot follows both the novel and the convoluted, cynical trajectory of Hendrik Hofgen, a star actor who continues performing despite and for Nazism, using "art for art’s sake" as his excuse. Klaus Mann drew inspiration from Gustaf Gründgens for this character. Gründgens was briefly married to Erika Mann, Klaus Mann’s near-twin sister (they lived and wrote in symbiosis), both children of Thomas Mann. The trio is completed by Pamela Windekind, daughter of a Viennese playwright and an actress.
The four friends create a few productions before history and their personal commitments drive them apart. Pamela, transformed into the hysterical street performer Nicoletta Hope, is played by the highly demonstrative Alba Porte, while Erika and Klaus are portrayed with more nuance by Jeanne Guittet and Angèle Arnaud. Almost inseparable, even though Erika embodies strength and commitment, humanity, and tries to save her partner from compromising, Klaus is a fiery radical, a bit of a Brechtian figure, full of passion and preaching.
Other characters appear, such as the ineffable Max Reinhardt, portrayed in expressionist style by Théo Kailer, and Hendrik’s malicious double, the satanic drummer Max Millet.
It is chaotic at times, juvenile in essence, a bit showy, but the story progresses well, and the frenetic pace captures the creative yet desperate atmosphere of Weimar-era Berlin. No dull moments, lots of outbursts and direct addresses to the audience, hyperbole, pulsating sound effects, and screams reflecting the peak of a social and existential crisis.
Yet this energetic goodwill and grand ambition would be in vain without an extraordinary Hendrik Hofgen. Cyprien Colombo, a singer, musician, acrobat, and of course, actor, plays this Machiavellian, egocentric, opportunistic Méphisto, blinded by his success and by theater, which is not life, especially when history gets involved.
He holds the stage until the very end, reciting Baudelaire as a farewell to the audience.
For his performance alone, this production deserves to be revived. That’s the best we can wish for Méphisto: a reflection on art and its compromises during troubled times, a generous and communal work that presents an essential moment in history to a broad audience.
Louis Juzot