Most every single thing about Thursday night’s performance of N. Ormes by Agathe Bisserier and Adrien Malette-Chénier at Théâtre Raymond Kabbaz was magical. From the concession stand items being baguette sandwiches (brie & apple or ham & cheese) and glasses of champagne to the French accents of every person affiliated with the theater, the entire night was stamped with an exhilarating je ne sais quoi.
Patrons were immersed in Frenchness; according to its site, Théâtre Raymond Kabbaz “is the only year-round theater in L.A. devoted almost exclusively to French language cultures.” This particular show was supported by The Quebec Government Office in L.A., which is fantastic, because N. Ormes deserves to be seen worldwide and, judging by a Google search, it has toured extensively throughout the U.S. thanks to government funding. Next stops are the San Francisco International Arts Festival on May 8, Danville, Kentucky, on May 12, and FringeArts in Philadelphia on May 23 & 24.
The show opens with Agathe and Adrien standing and swaying center stage, lit by a spotlight. The show also ends with the two figures in the same formation. It is the hour in between that leaves viewers completely flabbergasted as to what the human body is capable of. For 60 minutes, the duo showcases their tremendous strength, jaw-dropping agility, and emotional depth as they explore gender norms. Not only are Agathe and Adrien both incredible acrobats, but their emotive facial expressions and tender movements make this a theatrical joy to boot.
Agathe Bisserier and Adrien Malette-Chénier in “N. Ormes” – Photo by Thibault Carron.
As one patron commented, there is no bad spot in the charming 220-seat theater. Every guest had a close-up of each player taking turns carrying, holding, and throwing in the air the other player. At times, there were audible ooooohs, aaaaahs, and gasps from the audience when Agathe or Adrien left the ground or balanced the other in a particularly awe-inspiring pose.
If the show had words, I would imagine they would sound something like this:
Agathe and Adrien: We love each other. Things are going well.
Agathe: I want to be near you every second.
Adrien: You are needy. I need more freedom. I cannot carry your weight anymore.
Adrien leaves.
Agathe: I am feeling insecure. I am alone. Hmmm. I can do things on my own. I am strong.
Adrien returns.
Agathe and Adrien: We love each other. Things are going well.
Agathe: I am strong. You are weighing me down.
Agathe leaves.
Adrien: I can be manly and alone. I feel tender and raw.
At the end they reunite, seemingly agreeing that ups and downs and a balancing act of their expectations of each other and their roles is par for the relationship course.
Because there are no words, and just the hypnotic original score by Simon Leoza and minimal lighting by Claire Seyller, the audience deduces the narrative based on Agathe and Adrien’s acrobatic and theatrical movements, which are absolutely thrilling.
He is tall and lithe. She is short and muscular. The entire night, the two trade roles as the foundation and the free flyer. They each pick up the other, carry the other, allow the other to stand on their shoulders, and balance each other in ways not thought possible. Agathe mesmerizes during her solo section as she does a headstand on a box and kicks her legs out every which way.
Agathe Bisserier and Adrien Malette-Chénier in “N. Ormes” – Photo courtesy of TRK.
A highlight of the night was Agathe sitting on Adrien’s feet as he holds her feet with his hands. He flips her repeatedly in a somersault, and she lands in the same position that she started, again and again. The show’s message was clear: She can be solid and strong; he can be gentle and graceful. Gender norms are thrown around, wrestled to the ground, and laid bare.
Agathe and Adrien are on to something with this show and their independent circus creations. The two graduated from the Circus School of Quebec in 2018 and have worked for the Quebec companies Cirque Éloize and y Giners. In 2019, Agathe and Adrien initiated Acting for Climate Montréal, whose mission is to “create a network of artists and activists to nurture collaboration, equity, and admiration of nature for a sustainable future.”
Ormes is part of this work. The duo has expressed that they are “tired of the obsolete and toxic patterns of male/female relationships present in the circus world today,” and they aim “to express their social and environmental values through a committed circus.” This work aligns with their feminist approach to redefining standards.
Ormes is bare bones and brilliant, and we can only hope that it is just the beginning.
There is a parental warning about bringing young kids because of mature themes and nudity, but my 11-year-old daughter loved it. The dancers’ privates were always covered, albeit sometimes scarcely, and the touching and caressing were never inappropriate for children.
Every performance takes a village: Additional credits include costume design by Sophie El Assad, Outside Eyes Choreographer by Stacey Desilier, and Outside Eyes Dramaturgy by Agathe Foucault and Stephen Crête.
To learn more about Agathe Bisserier and Adrien Malette-Chénier, please visit their website.
For more information on Théâtre Raymond Kabbaz, please visit their website.
Written by Jessica Koslow for LA Dance Chronicle.
Featured image: Agathe Bisserier and Adrien Malette-Chénier in “N. Ormes” Photo courtesy of TRK.
