Suzanne's Mom's Blog

Photo: Dmitry Kostyukov for the New York Times.
The cast of “Cabaret Under the Balconies,” kept away from their theater by Covid-19, performs at a safe distance for nursing home residents in France.

What hath Zoom wrought? Despite its glitches, Zoom has solved a lot of problems in the coronavirus era and has even introduced new ideas for future activities. Yesterday, for example, one brother and I watched another brother give a lecture on immunology research to a conference — a thing we could never before have imagined doing. Although we hardly understood a word, we both found the experience of watching our kid brother explain obscure transformations of molecules — and gracefully answer all sorts of technical questions — completely delightful.

In today’s story, a theater group in France tapped Zoom to conduct remote rehearsals before performing in front of a live audience.

Laura Cappelle reports at the New York Times, “When circumstances close theaters’ doors, you can count on some performers to find a window to open. Last week in [a] city in eastern France, the residents and staff of a nursing home watched from a safe distance — some from windows and balconies — as five actors appeared in the building’s courtyard in front of a makeshift red curtain. ‘It feels like it’s been such a long time,’ they sang, in a cover of Joe Dassin’s wistful chanson ‘Salut.’ ‘Far from home, I’ve been thinking about you.’

“ ‘Cabaret Under the Balconies’ [was] the first professional theater performance in France since lockdown was imposed on March 17. …

“The relief of the cast was palpable as they performed at the facility, the Ehpad Bois de Menuse. … The 45-minute show was designed to respect social distancing among the cast members as well as between them and the audience, Bréban explained in an introduction.

“Except for one real-life couple, who were allowed to kiss, none of the performers touched. … Bréban, who also performed in the show, capitalized on the actors’ individual strengths, from Antonin Maurel’s clownish energy to Cléo Sénia’s burlesque background.

“Their approach appeared to resonate with the audience, limited to 40 people. (The show was performed twice so that most of the 90 residents could see it.) Many of them were in wheelchairs, yet could be seen nodding or tapping their feet to the beat. In the courtyard, one woman got up, swung her arms and danced with a masked worker from the home. Another teared up as Léa Lopez, a young performer with a lush voice, sang ‘Somewhere Over the Rainbow.’

“Valérie Gonthier, a nursing assistant who stayed by the woman’s side as she cried, said in an interview afterward that music often stirred up emotions for residents who experienced memory loss. The Ehpad has a choir, but French nursing homes don’t typically have the funds to bring in professional performances; Gonthier couldn’t remember anything like last week’s show in the 26 years she has been with the institution. …

“Nicolas Royer, the theater’s director since January, said he disagreed with many French arts administrators who had interpreted government regulations to mean that performances were impossible. He didn’t furlough any employees, instead asking the costume department to make surgical-style masks, welcoming doctors from a nearby hospital in the theater’s guest apartments and hosting training sessions for city workers dealing with the crisis.

“In April, Royer got a call from Bréban, an experienced actress and emerging director who was going stir crazy in her Paris home: She told Royer she was down for anything he dreamed up. …

“The cast of ‘Cabaret Under the Balconies’ rehearsed over Zoom for seven days and, after the relaxing of lockdown in France in May, met in Chalon-sur-Saône for one week of in-person rehearsals — with strict rules. Bréban booked cast members with no health conditions. Daily temperature checks and frequent use of sanitizing gel were mandated, and everyone was offered a coronavirus test.

“By far the most onerous directive for the performers was to maintain a distance from one another of roughly one meter at all times. … ‘We were confident that we were within labor regulations, with an audience that was already confined and highly protected,’ Royer said. …

“The last time I went to the theater, two and a half months ago, Isabelle Huppert headlined Ivo van Hove’s staging of ‘The Glass Menagerie.’ For all the star appeal of that night at the Théâtre de l’Odéon, ‘Cabaret Under the Balconies’ was the more memorable event — a sincere attempt to go back to basics, in the right place, at the right time.”

More at the New York Times, here.