Fernande Choisel lived for 19 years alongside Guitry, longer than with any of his wives. It was at Arletty’s request that she wrote her Memoirs. The Director of the Théâtre des Muses came across this book published in 1957 and took advantage of the lockdown to delve into this mine of information about those years spent in the shadow of the great author whom she has always admired.
Sprightly and passionate about the Master, in the cozy setting of “Monsieur Moâ”’s office, Anthéa Sogno takes great care, elegance, and flair in painting the portrait of the author she knows perfectly well (she has already performed, among others, on Parisian stages in “What’s New Guitry?”, “A Night with Sacha Guitry” or “Let’s Have a Dream”).
She evokes more than just her professional attachment to this man, her dedication throughout this journey filled with surprises, pitfalls, or difficulties because the artistic challenges to be met match the personality of this talented actor-director and lover of women without being misogynistic (the performer challenges preconceived ideas about him). The same goes for the accusations of collaboration with the enemy because he continued to create during the Occupation; these allegations are rebutted by the actress.
A confidante privy to his emotional or artistic doubts, this workaholic makes us relive the incredible moments of her life because, for him, life and stage are intertwined. She is present at all times with her typewriter, ready to quickly transcribe all the playwright’s wisecracks, and she is also a pioneer of stenography. An unfailing availability is what the author of 124 plays and 33 films needed. Enchanting, entertaining, her admiration reveals his works, his obsessions, his creative genius, or his pains. Staging many of his romances with much wit and elegance, his works reveal the great seducer he was.
He knows how to highlight his characters’ aspirations and flaws but depicts them with deep humanity. Thus, all the psychological stakes in the various plots emerge. Throughout her tumultuous life, passionate about women, Fernande, aka Anthéa, remains loyal against all adversities and shares the moods and torments of the Master. From Charlotte Lysès, his Pygmalion, to Yvonne Printemps, the born actress who left him for Pierre Fresnay, up until the beautiful Catherine Delubac, Geneviève de Séréville, the child-woman, and finally the widow, the sublime Lana Marconi, a festive sentiment emanates from this actress’s performance who slips into the skin of these women, inspired by the works of Philippe Caubère, author of numerous solo performances. Guitry is indeed the reflection of this worldly and light Paris of the 1920s and 1930s.
A true connection is felt between the Master’s secretary and the actress and director. As Anthéa Sogno herself says: “I embody her. I allow her to say what she certainly never told him, and she allows me to live what I could not live.” What a beautiful confession! What a tribute paid to the one who knew Guitry best and what enthusiasm from the performer who takes on the role to its fullest, facing the ups and downs of this long companionship, and there are many twists and turns. No chance of getting bored! It’s not a lecture; it’s lively, cheerful, never sad, even if his women put him through his paces and sometimes plunge him into the depths of perplexity.
Anthéa Sogno hopes that beyond the guaranteed pleasure that the audience will take in watching her perform with great ease on stage, they will want to dive into the depth of her writings, which are superficial nonetheless, and not just go to see his plays.
Not to be missed at the Théâtre de la Cité on Saturday, November 26, at 8:30 PM.
Information: 0493168269
Ticket prices: 10, 12, and 15€.
Roland Haugade
