Beauty and the Beast

Without revisiting all of the tale’s interpretations, a coming-of-age story can be detected designed to resolve the duality of being, with Belle embodying the human soul and the Beast being its life force and instincts. With Jean Cocteau, whose film appeared in cinemas in 1946, the focus is on the portrayal of the artist’s inner demons through the Beast’s duality. Whether it be lost unity or human nature torn apart, accompanied by Tchaikovsky’s symphonic works, our version of the Beast, freed from his inner demons, marries Belle under a blazing sun.

Thierry Malandain

We’re captivated by this duo who are two very different beings, overwhelmed by the delicacy through which their feelings slowly evolve, going from bestiality to affection and sensuality, the Beast’s suffering, his fear of letting himself be tamed and Belle’s fear of being won over, outside of normal criteria for being seduced. […] From the beautiful and regal Claire Lonchampt, straight out of a romantic novel, to the amazing Mickaël Conte, a powerful Beast with impressive leaps and contagious suffering, as well as the superb precision of Arnaud Mahouy and the expressive power of Frederik Deberdt, Beauty’s father. Talking about Neoclassicism is essential here due to the style of the portés, the dance ensemble patterns, the high-quality of the elegantly traditional costumes, and even the intrusion of a few pointes by little Patricia Velázquez in the role of Love.

Concertclassic.com, Jacqueline Thuilleux • 14 December 2015

Le Figaro, Ariane Bavelier • 20 December 2015

Minimalist stage design for virtuoso choreography. Such is this new version of Beauty and the Beast created by Thierry Malandain […].

Résidences-décoration.com, Serge Gleizes • February 2016