Once upon a time there was a theater called Chaillot which became legendary thanks to one of the 20th century’s greatest directors, Antoine Vitez, who brilliantly staged one masterpiece after another throughout the 1980s. After Vitez’s death, Chaillot gradually dwindled, and became just another performing space with no distinct identity, presenting bland dramatic works.
But things are finally changing now the once reputed national theater is to be run, not by one, but by two directors. Former head of the MC93 Bobigny theater, Ariel Goldenberg, will be in charge of drama and choreographer José Montalvo will handle dance, which will fill nearly half the program.
There were voices in the French culture establishment that argued against having another venue for dance in Paris. The Palais Garnier, of course, presents ballets — classical, neo-classical or iconoclast — but these nevertheless remain ballets. In contrast, the Théâtre de la Ville has become an artistic ghetto for the most audacious and outrageous creations mainly by figures from French national choreographic centers and a handful of Belgian avant-gardists. Then there are places like the Théâtre des Champs Elysées that import a couple of major foreign troupes now and then. Until Chaillot, there’s never been a major venue in Paris that dares to propose truly innovative, top-quality dance.
Three dance works will be on the bill this month. “French Kiss,” an original one-off event on March 10 at 8pm, stars five of France’s leading choreographers, who will share the stage for the first time: Régine Chopinot, Catherine Diverrès, Jean-Claude Gallotta, Maguy Marin and Joseph Nadj. Nobody else but Montalvo, with his zany imagination could have dreamed up this one. Not only will each of the choreographers contribute excerpts from their finest works, but the audience will be invited to join in.
Karine Saporta presents her offbeat and controversial version of “Sleeping Beauty” with a mixed cast of French and Russian dancers from the Ekaterinberg Ballet-Theater from March 15 to 17, 8:30pm and March 18, 3pm. Many choreographers have been drawn to revisiting classic ballets, like Mats Ek who made brilliant versions of “Giselle” or Maguy Marin and her “Cinderella,” but this is Saporta’s first attempt at remolding an already-existing plot. Her sensual, provocative style full of visually dreamy effects and unusual movement sequences promises to inflect her “Sleeping Beauty” with all kinds of surprises, upon reawakening a century later in 2001, and discovering hip hop.
The third program scheduled March 24 and 25, 6pm is a restyled version of Dominique Boivin’s dazzling one-man show “La danse, une histoire à ma façon,” a humorous look at the history of dance from cavemen to Cunningham. His work “Mécaniques,” a compilation of extracts from some of his older pieces will be shown from March 21 to 23, at 2:30pm.
Chaillot’s upcoming program is at once varied and exciting, with a flamenco production and Montalvo’s wickedly funny work “Le jardin io io ito ito,” in which dancers perform with video-projected virtual creatures. Later in the season, Chaillot hosts a tango fest and a hip hop creation by the popular Käfig company.
Not bad for a beginning that may eventually see audiences shifting loyalties — and, yearly subscriptions — as they migrate from the place du Châtelet to the place du Trocadéro...
Théâtre National de Chaillot, 1 pl du Trocadéro, 16e, Mº Trocadéro, tel: 01 53 65 30 00: “French Kiss” (chor. Catherine Diverrès, Jean-Claude Gallotta, Josef Nadj, Maguy Marin), Mar 10 at 8pm “Belle, au bois dormant de larmes écarlate(s)” (chor. Karine Saporta), Mar 15-17 at 8:30pm; Mar 18 at 3pm “Mécaniques” (chor. Dominique Boivin), Mar 21-23 at 2:30pm, “La danse, une histoire à ma façon” (chor. Dominique Boivin), Mar 24 & 25 at 6pm
