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Théâtre - Critique
Harper Regan
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La quarantaine sexy, un emploi stable qui nourrit la famille, un homme aimant à la maison, une ado à l’école, sérieuse, juste un peu gothique : Harper Regan semblait bien calée dans l’habitude d’un quotidien heureusement tranquille. Et puis son père, celui qui, même au lointain, restait dressé comme repère, bascula vers la mort, serrant soudain les nœuds de cette vie ankylosée sous discrètes oppressions : son patron lui refuse quelques jours de congés, son mari architecte a en fait perdu son boulot pour actes pédophiles, les regards voisins les ont obligés à déménager, sa fille crise avant ses examens… tandis que l’âge débonde les pudeurs scellés par le mariage. Autant de faits amoncelés qui fusent en une déflagration intérieure et poussent Harper à s’échapper le temps d’une fugue libertaire, douloureuse et initiatique. Car brutalement remontent les rancœurs d’enfance, la complexe relation à la mère, les résignations peu à peu oubliées, les mensonges ignorés… les désirs qui vagabondent vers l’inconnu.
Humanité fragile
L’auteur britannique Simon Stephens, qui fut associé au Royal Court Theatre de Londres jusqu’en 2005, coud son histoire sur fond de société anglaise, où s’inscrivent le racisme ordinaire des classes populaires, la dureté des conditions de travail, les préoccupations écologiques, la précarité ou encore le démantèlement de la presse d’information. Le tout est faufilé par une langue banale, souvent sentimentale, qui tire les dialogues en longueur et tend à souligner le propos. Les acteurs, menés par le metteur en scène Lukas Hemleb, tiennent cependant la situation, baignée d’une langueur âpre. Louis-Do de Lencquesaing, Gérard Desarthe, Caroline Chaniolleau, Alice de Lencquesaing, Pierre Moure et surtout Marina Foïs, en scène de bout en bout, apportent une humanité subtile et laissent sourdre dans les silences toute la complexité de l’existence.
Gwénola David
Harper Regan, de Simon Stephens, mise en scène Lukas Hemleb. Jusqu’au 19 février, à 21h, sauf dimanche 15h, relâche lundi. Théâtre du Rond-Point, 2 bis avenue Franklin D. Roosevelt 75008 Paris. Rens. 01 44 95 98 21 et www.theatredurondpoint.fr.
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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