Interview: Alice Borgers of ON NE BADINE PAS AVEC L'AMOUR at Grand Théâtre

So far, Broadway World's activity in Luxembourg has almost exclusively focused on performance reviews. Well, with so many changes going on in the world, the esteemed reader will certainly allow us the introduction of a new format. In what we hope to be the first of various interviews in the Grand Duchy, we sat with Alice Borgers, who played Camille in last week's On Ne Badine pas Avec l'Amour. In an hour that really flew by, the Belgian actress shared with us some interesting takes and stories about her experience as a rising figure in our artistic scene.

On Being a Belgian Actress:

DSL: Belgium is a country with two languages and cultures. Do you feel like it splits the audience or just opens different doors?

AB: I would really love to play in Flemish. There are some efforts done by theatre companies to provide shows in both languages, but you can still feel a divide, both in the art scene and in the audience. I think we should keep investing in it. Our diversity is what makes us Belgian, it is our strength. And actually Belgium has three official languages, there is also German!

DSL: Follow-up question. Being a francophone who has now worked with international French speakers, could you consider yourself as a European actress?

AB: I would say I am a Belgian actress, but yes, in an international project like this you can really feel European.

DSL: A group of international people usually produce funny anecdotes. Anything you could share?

AB: Being Belgian, I stand out because of how we say the numbers differently from the French. It's a recurrent topic when sharing phone numbers and things like that.

DSL: One of your past plays was called American Bullshit Motel. Was that as fun as it sounds?

AB: Yes! That was the last performance we put together during my studies. It was a combination of scenes from different American plays and films. One of my roles was that of a Texan girl with an alcohol addiction. I sometimes wonder how many great productions we are not getting in Europe, given the volume of blockbusters that reach us. Some of those films are good, don't get me wrong, but there has to be a lot of other quality that we don't get, just like they don't get most of our content.

On the Show:

DSL: If you were friends with your character, what would you tell her?

AB: Similar to what Perdican tells her in their debate about love. Perhaps a bit more diplomatically. That love can surely hurt, but it is one of the most beautiful things in life. I did not live for years in a convent like her and even I can fear and admire it. It is normal and it is beautiful. Actually, this play was originally a comedy, but as a result of some personal struggles while he was writing it, Alfred Musset ended up giving it a deeper and more dramatic tone.

DSL: If I were to go backstage before the show, what kind of Alice would I find? Serious, playful...?

AB: Well, I believe in work. I like to compare actors to football players, there is a lot of work and preparation that goes into it before and after the show. But honestly your mood will also depend on the type of project you are working on. A more serious tone requires a far greater depth, others a more casual one. I remember when I had to do a scene from Scream, I was fully in it well before the scene.

DSL: One of the things we admired the most in your acting was the physical acting. Camille evolves very visibly, with a change in hair and outfit, but you also express that progress with mannerisms and body language. Did that come naturally or was it directed?

AB: It was a bit of both. The transformation is present in the script to start with and Laurent pays very close attention to detail. He has the scene almost entirely in his head and gives you the outline of the drawing. But inside the outline that makes Camille, there is Alice, working with that almost.

On her Life:

DSL: You finished your studies right before Covid. Was that a rough start for your career?

AB: I was actually one of the lucky ones. I had some things already planned before the lockdown and ultimately nothing got cancelled, so the timing happened to work out. Some people were not so lucky. We still had to rehearse and work with face masks, which was a challenge in itself, but in the end it was ok. And after that period I am very glad that we are on tour, so we can actually meet and talk with new people.

DSL: When preparing this interview we discovered that there is a Brazilian actress with a name very similar to yours, Alice Borges. Was that ever an issue?

AB: First time I hear about it! You need to show me.

DSL: We also saw that you have some combat training. Did you ever use it in a performative context?

AB: Not really. I do want to work more with it in theatre, but I used to practice actual aikido. Life can be quite stressful and I don't want to bring that tension to the stage. It has to go somehow! I also used to dance, mostly jazz and ragga.

DSL: Lastly, is there a character or play that you really want to work with?

AB: Let me think, there is so much. I have always admired the writings of Marius von Mayenburg and Dennis Kelly. In terms of plays, Dans la Solitude des Champs de Coton pops into my mind, although I prefer the idea of working with specific people, rather than plays. I like the concept that theatre is like mayonnaise - all the ingredients have to be good to make it great. Working with talented people gets you closer to great. There is a more poetic way to say this, but I like the metaphora!

And so was our interview with Alice, someone who is just as nice as she is talented. Very down to earth, with a sense of humour and a smile that could light up the room. Actors that keep these traits go far in life and we look forward to watching her career flourish. And for her turn to buy us coffee. (Which she doesn't drink, which, in all honesty, was her only red flag).

Photo Credit: Frédéric de Frésart

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