We have been within the oh-so-cute Theatre de la Madeleine, all purple velvet upholstery, gold paint, and squashed knees. Curtain up was due for 5pm. Nevertheless Walter Van Beirendonck is a monument of Parisian trend—he does what he desires—and it was shut 50 minutes till we started. In that stretch there was loads of time to re-acquaintance ourselves with Covid-neurosis plus a recent twist on a runway present traditional in an interplay between the viewers within the stalls and the photographers clustered behind them as much as seize front-of-stage. The photographers bellowed: “cross your iPhones!”
As soon as the curtain got here up no person cared, and up went the telephones. The present was cut up into two acts. The primary noticed round 12 sinisterly shrouded figures standing on stage. One after the other wires whipped up their shrouds into the darkness above, and so they walked. What appeared to be slowly revealed was a Beirendonck attired theater troupe from someplace between the sixteenth century and the twenty sixth. Floating ruffs and ruffle-slit sleeve jackets and shirting have been introduced on Bowie/Kinds worthy metallics and perkily castellated shorts. “Don’t go too near the solar,” admonished a slogan tank prime.
The lights dimmed, the curtain lowered, and we have been beginning to think about the up-and-coming Jeanne Friot as a consequence of present in a presentation three minutes later at a venue Google Maps confirmed was 35 minutes away in site visitors. However then the curtain rose once more for the second act. This was heavier on gimp, kink, and colour—WvB’s conventional trinity—and it turned obvious by way of the sloganeering that this was an anti-war assortment that additionally exhorted onlookers to “Swallow.” This was additionally highly-phone worthy—these photographers had no likelihood.