With “The Tale of Tales”, Omar Porras gives us the total
Had the Covid blocked it? Nothing prevents the deluge orchestrated by the king of the Malandro Theater, which floods Geneva, just after the Théâtre Kléber-Méleau, his kingdom.
The masterful Philippe Gouin, at the same time narrator, healer and master of ceremonies in “The Tale of Tales” by Omar Porras.
LAUREN PASTCHE
Come closer, ladies and gentlemen, Dr. Omar has prepared for you the elixir of elixirs, the remedy for long-lasting viruses, the anti-spleen poultice, the purgative of all kinds of darkness! Behind the curtain of the Théâtre de Carouge, nothing less than theatrical illusion will administer the panacea: sequins, special effects, smoke bombs and other inclemencies regulated from the hangers await you to get rid of the most incurable evils.
Like the neurasthenic Prince Carnesino, whose “The Tale of Tales” has the nesting effect of driving away dark thoughts, let yourself be distracted by a show whose eyes are the Grand Guignol, the cabaret, the ghost train, the musical, the cinema gore, phantasmagoria and magazine. This is how the rant of the new Porras could sound.
Cyril Romoli (father) Audrey Saad (daughter), Simon Bonvin (son) and Jeanne Pasquier (mother) in a thinly veiled allusion to the Adams family.
MARIO DEL CURTO
The 2020 production of Teatro Malandro (alternatively postponed, interrupted and then newly recreated in Renens) has excess linked to the body. The “Pentamerona” on which he is inspired, which the Neapolitan Giambattista Basile published in the 17th centuryand century, was already drinking from a profusion of fables, legends and folktales to bring a sullen princess’s smile back.
Our Colombian creator only adds to the initial avalanche the references drawn from his own career -from Molière to Wedekind, but also from Tim Burton to the “Rocky Horror Picture Show”, from burlesque to Broadway shows, without neglecting the fruitful contributions of “The Psychoanalysis of Fairy Tales” by Bruno Bettelheim.
A triple Cinderella performs gory tasks in one of the show’s gory sequences.
MARIO DEL CURTO
As it zigzags incessantly from one register to another, this carnivalesque overabundance can cause nausea. Bewitching lights, baroque costumes and make-up, expert gestures, bloody accessories, varied sounds, sometimes rock, sometimes lyrical vocalizations… the senses end up dull and the spirits gel. Too many stories kill the story. Maybe too much talent is suffocating talent. In any case, the number is just a false friend of entertainment.
Audrey Saad, Marie-Evane Schallenberger and Jeanne Pasquier headline the Folies-Bergère magazine girls’ section.
LAUREN PASTCHE
Fortunately, the staging unwinds a common thread that prevents indigestion. The phenomenon occurs in children who are tucked up in bed, in the spectators of a movie or a play, and even in the characters of this “Tell of Tales”: tell them a story correctly, they will reproduce their dialogues in their silent lips; they will reflect their emotions in the features of their faces; they will bodily embrace their various adventures. The great idea of Omar Porras is to have thematized on stage the identification of the public, throughout a sensitive mise en abyss. And thus having attributed to it the main therapeutic value of the theatrical pact: becoming another for a moment.
Katia Berger She has been a journalist in the cultural section since 2012. She covers current affairs in the performing arts, in particular through reviews of theater or dance, but also sometimes deals with photography, visual arts or literature.
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