Review: LE JEU DE L'AMOUR ET DU HASARD at Grand Théâtre

Between the 4th and the 12th of October, the Grand Théatre of Luxembourg opened its doors to a modern and refreshing adaptation of Marivaux's A Game of Love and Chance. This renown romantic comedy was first presented to the public in 1730 and has since then been adapted over the centuries to entertain crowds around the globe.

The story introduces us to Sylvia (Sophie Mousel), a proud and head strong young woman, who is to be married to Dorante (Pierre Ostoya-Magnin), a wealthy man she never actually met. Sylvia has very mixed feelings about the arrangement, and often debates the matter with her maid, Lisette (Eugénie Anselin). Her servant is quite willing to talk about the complex topic of love, but her lively and joyful personality grants her a more positive and relaxed perspective. When it is announced that Dorante will be visiting, the two girls agree to swap places, in order to give Sylvia the opportunity to analyse her future husband from a distance, and thus decide if he is, indeed, the kind of man she wants to marry. However, Dorante has the same idea, and ends up switching places with his own servant (Brice Montague). The result is a classic comedy of errors, which makes the two pairs fall in love despite all adversities and deceits.

Sylvia and Lisette were portraited, in many ways, as opposite ends of a spectrum. While the first has strong and deep opinions about the world around her, as well as high romantics expectations, most likely rooted in long moments of philosophical reflection, the second displays in her choice of words and general mannerisms just how carefree and joyful she truly is. Mousel does a great job at presenting a young upper-class woman of delicate manners and resolute will, a crystalized beauty who, despite her qualities, very often shows signs of arrogance. You could find yourself wondering if, in moments of greater tension, Mousel is perhaps overacting Sylvia's reactions to adversity, but the more you learn about this character, the more you understand just how this sort of attitude is a core part of her personality. It is a trick played on the audience and one that works wonderfully. As for Anselin, she was incredible at keeping up the energy on stage in every single one of Lisette's scenes. She was also particularly good at giving her character a tone of elegance, once she stepped into her lady's shoes, without ever losing her wild-and-barefoot spirit, often saying one thing with her voice and another with the sway of her legs.

Ostoya-Magnin's challenge was a bit different. Although he was playing a highborn in a servant's shoes, it is not unlikely to see an uptight valet with the class of a gentleman. What made Dorant a tricky character to play was his emotional development. He is the first to realize and come to terms with his love for Sylvia, despite believing she is a servant. He is the most innocent and straightforward of the four and must express his passion and despair through the filters of a wealthy and well-educated individual pretending to be something else. Montague, on the other hand, had to deal with almost the direct opposite. All throughout the play, he was the embodiment of the joyful Arlequin, the famous stock-character very often featured in other great works of theatre.

A last note of praise to actors Stéphane Daublain and Jean-Marie Frin, who played Sylvia's brother and father, to director Laurent Delvert and everyone responsible for the scenery, and to our dear Grand Théâtre for yet another lovely evening.

PS: If you can entertain a South African who does not speak French, you know you have mastered the art of comedy.

Image credit: Bohumil Kostoh

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