The End of The Night Cabaret at Theatre National

ABO GOURMAND / The creators of the company Arsenic (Le Dragon, Eclats d'Harms, Le Géant de Kaillass…) are back! A second life under another banner (la Compagnie Pop-Up) for a new creation in which Axel De Booseré, Maggy Jacot definitely have the secret! The merry troupe returns with their well-known talent for a Cabaret du bout de la nuit that promises to be, once again, politically incorrect, colorful, turbulent and twirling.

The creators of the company Arsenic (Le Dragon, Eclats d'Harms, Le Géant de Kaillass…) are back! A second life under another banner (la Compagnie Pop-Up) for a new creation in which Axel De Booseré, Maggy Jacot and their faithful companions (Mireille Bailly, François Joinville, Gérard Maraites ...) definitely have the secret! The merry troupe returns with their well-known talent for a Cabaret du bout de la nuit that promises to be, once again, politically incorrect, colorful, turbulent and twirling. Seven actor-singers, five musicians (under the direction of Marc Hérouet), a stage design with multiple inputs (sound clips, images, texts ...), a real theatrical and musical fresco that plunges the audience into "the heart of a vortex where individual desire, class struggle, the battle of the sexes, frantic fun and modern art collide. " Because we are in the Belle Epoque (1879-1915). The "Golden" age , they say. Between prosperity, frivolity, faith in progress, and artistic abundance. But behind the bright colors of the music hall, technological revolutions (electricity, radio, cars ...) and the different forms of social progress are also hidden other much darker realities: the Great War, xenophobia, sexism, nationalism, colonialism ... that this especially well documented Cabaret du bout de la nuit will highlight with a freedom of tone, spirit, and movement. While convoking Feydeau (On purge Bébé!, 1910) and Céline, while going from Freud to the "Clown Chocolat" (unbearable stereotype of the stupid negro), from a romantic waltz to a patriotic hymn, from a frenzied ragtime to the exploitation of the children in the workplace. As in every creation of the tandem DeBooseré-Jacot, this café-concert is populated with brilliant and eccentric characters, the sets and costumes are amazingly original and the world is never Manichean. A cabaret from another generation, in appearance only, because behind this smokescreen is hidden the reflections of an era, our era, not so beautiful either, in the end.