No No Nanette, Théâtre de l’Athénée
Clique ici pour la version française 🇫🇷
A Sunday at the Théâtre de l’Athénée – Louis Jouvet. Our last visit was in 2024, when we attended a performance of Gosse de Riche, Maurice Yvain’s operetta. We had the pleasure of encountering once again the wonderful Orchestre des Frivolités Parisiennes, whose presence on a show’s bill is always a guarantee of quality. This Sunday, we once again get to enjoy the orchestra’s talent, this time for the resurrection of No, No, Nanette from the depths of musical theatre history.
To our knowledge, the work of Vincent Youmans (who wrote the music) hasn’t been staged in Paris for quite some time. It was a massive success in the late 1920s on Broadway, in London, and then at the Théâtre Mogador. Its songs have also been widely heard in cinema, up until the last adaptation starring Doris Day in 1950. Beyond its old-fashioned charm, the film didn’t leave a particularly memorable impression on us. From the original score, we are of course familiar with « Tea for Two » and « I Want to Be Happy, » both of which have become standards of the Great American Songbook. We were therefore delighted to discover a stage version of this classic.
The curtain is already raised, revealing the set before the performance begins. It consists notably of brightly colored panels that move gently, creating new spaces, unveiling the many nooks and crannies of the opulent New York mansion, or mimicking the waves of Atlantic City. The absence of realism is quite welcome; it lightens the rather boulevard-style plot. It modernizes it and makes it even more lively, almost pop. These perpetual movements create tableaux, as do the geometric pieces that the ensemble regularly manipulates. We even detected (though perhaps we imagined it) a touch of Mondrian. This wouldn’t be entirely far-fetched, since his first abstract compositions date back to the late 1910s. In any case, the abstraction permeating the set enchanted us and happily dispelled any fears of a dated musical.
This idea is also quickly swept away by the energy of the Orchestre des Frivolités Parisiennes. It’s delightful to see them again, having last performed La Cage aux Folles at the Théâtre du Châtelet. Vincent Youmans’ score suits them perfectly. The musicians, conducted by the talented Benjamin Pras (whom we regularly encounter in productions at the Théâtre du Lido), play with the actors and the audience, adding musical punctuation to the text and creating a wonderful sense of complicity.
As suggested earlier, the plot is extremely light. Which isn’t unpleasant. And which reflects its era : the interwar period. Today, one must consider this bourgeois fantasy within its historical context and revel in the two-hour bubble of carefree escapism it provides. This carefree spirit is perfectly conveyed thanks to Christophe Mirambeau’s adaptation. We often lament lazy translations. This one is clever and sparkling. Even the songs sound as though they were originally written in French. Serving this text, the production boasts a truly exciting cast. Emily Wilson and Jos Houben’s clear and fluid staging beautifully showcases each of the performers.
We first discovered Marion Préïté in 2018 in the wonderful show Comédiens!at the Théâtre de la Huchette, we are so glad to see her again as the ingénue Nanette. She brings just the right amount of lightness to this poor-little-rich-but-unhappy girl, making her deeply endearing. It’s also a great pleasure to see Lauren Van Kempen commanding the stage; she captivates the audience with the sublime « Where Has My Hubby Gone Blues. » One of the climaxes. In addition to embodying one of the leading roles, the ever-graceful Caroline Roëlands also provides the choreography. And what remarkable work it is. Once again the word that comes to mind is lightness. One senses the precision and perfection in the choreography. But above all, it’s imbued with humor, finesse, and elegance. Wonderful tap-dance numbers brighten the musical, one of them brilliantly led by Loaï Rahman. The choreographer can rely on a truly virtuoso ensemble. As mentioned, the story itself isn’t the most thrilling. Whenever the excitement dips, the ensemble bursts onto the stage, flinging a flurry of legs into the air, whirling and buzzing about, and showering us with a wave of joyful energy. We salute the ardor of these seven performers.
We would also like to highlight Marie-Elisabeth Cornet. The character of Pauline is the one who creates the strongest connection with the audience. Duplicitous, clever, and less foolish than she first appears, the household’s governess provides many moments of laughter. It’s an almost farcical role, which grows increasingly vivid as the story unfolds, becoming surprisingly touching by the end of the show.
We’re already talking about the end of the performance, yet we’ve forgotten to mention the plot. In short: Nanette wants to go to Atlantic City to let loose. Her fiancé doesn’t want her to. Nor does her guardian. In short, everyone tells her: « No, no, Nanette. » She goes anyway. Then, her guardian and his lawyer end up in Atlantic City, caught in a tangle involving kept women driven by their greed. Their wives show up too. A right old mess, and just a perfect excuse for a host of shenanigans.
In the end, No, No, Nanette is a snapshot of an era when audiences had an understandable need for carefree entertainment, unbridled dancing, and tender feelings. Frankly, we need that too. And we savored every moment of the show, as if we were with the troupe, on a beach in Atlantic City.
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