Olivier Py's highly anticipated production of Henrik Ibsen’s Peer Gynt, coupled with the original music of Edvard Grieg, is captivating audiences at the Théâtre du Châtelet in Paris. This performance merges two artistic masterworks, marking what director Olivier Py describes as "extremely rare" reunions between the playwright's textual richness and the exquisite orchestrations from the 19th century.
The performance, running until March 16, 2025, features 50 musicians from the Orchestre de chambre de Paris, under the baton of Estonia's Anu Tali. This unique synergy brings Ibsen’s characters to life and showcases Grieg's music as integral to the storytelling. "It’s extremely rare to find the entire score by Grieg with 50 musicians and Ibsen’s play, even in Norway," Py emphasized, illustrating the significance of this endeavor.
Scenic designers Pierre-André Weitz and choreographer Ivo Bauchiero have created a visual feast, with somber grayscale tones reflecting the depth of Ibsen's narrative complemented by vibrant color during the fantastical sequences. The production strikes a balance between the rigors of Ibsen’s text and the euphoric gestures of the music, presenting Peer’s tumultuous and quest-filled life across five acts.
One standout performance is by Bertrand de Roffignac as Peer Gynt, whose portrayal resonates deeply with the audience. Habiting the stage for nearly four hours, his embodiment of the reckless anti-hero indulges viewers with varying shades of emotion. His performance has been referred to as "phenomenal," transcending mere acting to evoke the chaotic energy and inner conflicts of his character.
Roffignac's energetic leaps, singing, and acting create a theatrical whirlwind, allowing the character's existential dilemmas to emerge vividly from Ibsen’s words. With gusto, he personifies Peer’s transformation from self-centered dreamer to regretful wanderer, threading humor with moments of genuine pathos.
Supporting cast members also shine brightly, with Clémentine Bourgoin, Justine Lebas, and Lucie Peramaure captivating the audience as playful, mischievous figures dressed adorably in white shirts. Their engaging performance offers necessary levity amid the heavier emotional themes explored by the narrative.
Damian Bigourdan portrays both the boisterous King of the Trolls and the Grand Courbe, switching roles seamlessly, much to the audience's delight. Each character brings new layers of intrigue, with Pierre-Antoine Brunet adding terror as another incarnation of the Grand Courbe. They demonstrate remarkable versatility, enhancing the performance’s overall intensity.
A particularly memorable moment is the poignant scene reflecting Aase's death—Peer's mother, played by the mesmerizing Céline Chéenne. With masterful depth, Chéenne channels raw maternal fervor, and her scene with Roffignac resonates deeply. The director made the bold choice to distance Peer and have him beckon the musicians to soften Grieg’s tender score accompanying Aase's demise, capturing the sorrow yet beauty of the moment.
The choreography throughout the performance pulsates with vigor, embodying the lively scenes and darker tones alike. Each act flows almost as if it were choreographed along with the musical score, creating dynamic visual narratives driven by ballet and modern dance influences. Choreographer Bauchiero's exuberant guidance allows the ensemble to strut and leap with playful abandon, bringing laughter and joy to the audience.
Despite the excitement, there are moments where not all elements harmonize perfectly; some scenes, especially portraying Peer’s adventures among the gullible Arabs when he feigns being sent by Allah, evoke mixed receptions. While the script’s less compelling segments could detract from the overall experience, they are minor compared to the production's strengths.
Director Olivier Py’s interpretation has sparked conversation due to the unease within the philosophical narratives of Peer Gynt. His imaginative guidance invites scrutiny, but at its core lies a boundless vitality nurtured by the music and the extraordinary cast performances. He carefully constructed this iteration, supporting the weight of Ibsen’s themes through the accompanying soundscape.
Py's adaptation has been translated to French, allowing seamless integration of dialogue and song alongside the original musical score. He has dreamt of bringing this cohesive visual and auditory experience to life for 15 years, finally abandoning the realms of abstraction to embrace the partnership between theater and symphony.
With the future of theatrical productions often uncertain, this reimagined Peer Gynt radiates with originality and nostalgia. The blend of storytelling and musicality creates emotional arcs felt as the audience is whisked through the various phases of Peer's convoluted identity challenges.
Undoubtedly, as this exceptional production nears the final curtain on March 16, 2025, it embodies the remarkable collaboration between Ibsen’s prose and Grieg’s melodies. Such moments are rare, and theater enthusiasts are urged to seize the opportunity to witness this transcendent show. One can only hope it returns for another season at the Théâtre du Châtelet, ensuring countless more may relish the culminating experience.