Choreographer Millepied Unveils Ambitious Work at Folies Bergère
In a captivating display of artistry, a dancer executed a daring pole routine at an improbable angle on the Folies Bergère stage. The atmosphere was electric as other performers, adorned in feathers and sequins, meandered about, presenting a dazzling array of high heels and elaborate hats.
These dancers echoed the legendary performers of Parisian music halls, such as the Moulin Rouge and the Crazy Horse, celebrated in iconic posters showcasing their cancan performances.
However, this production offers a unique twist: a contemporary narrative set within a dystopian landscape featuring sexually ambiguous characters that blur the lines between fantasy and reality.
As the strains of Strauss’s “Blue Danube” waltz filled the air, the performers engaged in a spectacular display of mock desire, culminating in a dramatic collapse at the piece’s conclusion.
Millepied’s Vision for “Move Me Once More”
Choreographer Benjamin Millepied, speaking to a group of attendees, remarked, “Yes, there is a giant orgasm in ‘The Blue Danube.’” This performance marked the initial day onstage for Millepied, his dancers, musicians, and technical crew as they prepared for “Move Me Once More,” a hybrid theatre piece combining dance and song.
This endeavor signifies a notable shift for Millepied, who previously led the Paris Opera Ballet and has choreographed numerous works globally, including pieces for his contemporary troupe, the L.A. Dance Project.
“Move Me Once More” is part of a bold three-week showcase at the Folies Bergère, running from November 9 through November 29, featuring an intricate blend of technical aspects—including acoustics and lighting—as they navigate the space.
A Historical Venue Reimagined
Established in 1869 and renovated in 1926 with Art Deco features, the Folies Bergère has shifted away from its traditional showgirl revues, now hosting musicals and live music. This new venture into contemporary choreography is an innovative endeavor in a venue typically reserved for simpler performances.
Millepied’s Affection for Cabaret
Expressing his enthusiasm, Millepied reflected on his fondness for the Folies Bergère, stating, “Loïe Fuller performed here, Josephine Baker danced here, Barbara sang here. There is so much history; it’s an alive place to reach a broader audience.”
His childhood impressions of cabaret in Bordeaux echo in the extravagant aesthetics of productions like “A Chorus Line” and Bob Fosse’s “Cabaret,” which continue to inspire him.
Frédéric Jerôme, director of the Folies Bergère, acknowledged that while a dance season hadn’t crossed his mind before, he recognized the potential richness of multidisciplinary performances inherent to cabaret.
A Collaborative Narrative
Millepied’s fascination with cabaret sparked when he choreographed a piece for the Crazy Horse shortly after relocating to Paris in 2022. “As a choreographer, you want your dancers to flourish and self-express, and cabaret allows that—amplified,” he explained.
However, Millepied aimed for depth beyond mere entertainment; hence he collaborated with filmmaker Léa Mysius to weave a narrative featuring a central character named River, portrayed by Laïka Blanc Francard. River, entangled in a dystopian scenario, reveals a forbidden love for the androgynous figure, Ange, played by Eliot Preti.
Mysius noted that the dialogue emerged organically from the dance, aiming for a visceral experience rather than a direct political message, creating an emotional connection with the audience.
Eclectic Soundtrack and Performative Diversity
The musical backdrop—featuring songs like “Mr. Sandman,” Sade’s “Jezebel,” and Édith Piaf’s “Hymne à l’amour”—forms a narrative through the protagonist’s love journey, curated from Millepied’s personal favorites.
Millepied’s production also introduces a master of ceremonies, roller skaters, and innovative pole dance elements to enhance the diverse artistic experience. Performers like Courtney Conovan, who trained for a year for a solo on the pole, highlighted Millepied’s ability to blend various artistic styles.
A Spectrum of Emotional Narratives
“Move Me Once More” stands as the most experimental of Millepied’s three new vocal works this year, with “Du bout des lèvres” set to the music of French singer Barbara—a concept he first considered two decades ago, prompted by Mikhail Baryshnikov.
Millepied stated, “For the French, her music is the soundtrack to life. I’ve always appreciated it, but I needed the personal maturity to interpret its poetic depth.”
A key figure in this narrative is Florence Clerc, a former star at the Paris Opera Ballet, whose role encapsulates themes of love and passion.
Future Prospects and Artistic Aspirations
“Summerland,” drawing inspiration from the music of November Ultra, evokes a vision of California’s natural beauty. Ultra expressed her transformative experience in performing alongside dancers, creating an unprecedented artistic synergy.
Reflecting on the experience, Millepied concluded, “These three ideas culminated in a vibrant moment for creating something meaningful. It’s a celebration of life and art, a gift I wanted to share with the audience.”
Discussion about this post