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Théâtre - Critique
Dorian Gray
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Thomas Le Douarec a choisi d’adapter à la scène la version non censurée du célèbre roman d’Oscar Wilde. Le sulfureux dandy, adepte d’une forme supérieure d’existence débarrassée des oripeaux vertueux que revêt l’impuissance, y décrit les aventures de Dorian Gray qui, par la magie d’un vœu, conserve la grâce et la beauté de sa jeunesse, pendant que son portrait vieillit. Le héros, prisonnier de l’âge où tout est possible, s’adonne aux plaisirs, dans une quête effrénée de la jouissance quelles qu’en soient les formes, même les plus inavouables et jusqu’aux plus viles. Mais, pendant que le corps exulte, l’âme se corrompt ; et le portrait abject renvoie à son insolente et éternelle jeunesse le reflet de son infamie.
Une comédie peu musicale
L’adaptation scénique que signe Thomas Le Douarec est habile. La succession des scènes, rythmée par des noirs permettant de rapides changements du décor, est dynamique, et offre un aspect enlevé au spectacle. Le jeu des comédiens, de bonne tenue, confère à chaque personnage une couleur psychologique singulière qui permet de saisir les contrastes entre la figure de l’artiste idéaliste, celle du dandy pervers et celle du manipulateur cynique. L’interprétation vocale, en revanche, laisse cruellement à désirer. La musique de Stefan Corbin, jouée en direct au piano, ne dépasse pas le niveau du soutien mélodique, et les morceaux chantés alourdissent un spectacle qui aurait gagné en qualité sans eux. Si l’espace de jeu, que dessinent habilement les lumières stylisées, est adroitement suggestif, les costumes, entre catalogue de l’écossais et cuir et guêpière à l’érotisme frelaté, sont un peu trop démodés pour vêtir de manière crédible ces arbitres de l’élégance londonienne que dépeint Wilde. La comédie musicale est un genre qui suppose l’équilibre et la coordination de ses effets : ce spectacle n’en réussit vraiment que l’aspect théâtral.
Catherine Robert
Dorian Gray, d’après Le Portrait de Dorian Gray, d’Oscar Wilde ; livret et mise en scène de Thomas Le Douarec ; musique et direction musicale de Stefan Corbin. Du 24 août au 30 octobre 2011. Du mercredi au samedi à 21h30 et le dimanche à 17h30. Vingtième Théâtre, 7, rue des Plâtrières, 75020 Paris. Tél : 01 43 66 01 13.
A propos de l'événement
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A lire aussi sur La Terrasse
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- Critique
En attendant Godot : Alain Françon dirige, en grand horloger, des comédiens éblouissants
Enfermés dans le lendemain de la veille, [...]
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- Critique
Alain Françon met en scène « Le Moment psychologique » de Nicolas Doutey : une partition qui enchante
Alain Françon met en scène Le Moment [...]
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- Critique
TRAIT(s) : un cirque graphique intelligent et sensible composé par Coline Garcia
Rendre l'art accessible au jeune public sans [...]
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