Extracts from the press


Aimed at an audience of 8 years and older, this Stéphane Blanquet and Jean Lambert-Wild piece is full of all the simplicity of the great fairytales: that falsely naive purity which wakes the imagination, the fascination and curiosity of children, as it gives the adults food for thought. And the metaphors fly : the impossibility of freedom, leaving childhood behind, power relationships, the fleeting nature of life... Everyone has their own interpretation of this multi-speed show. A fresh take on Daudet, through bitter-sweet poetry.

Tania Brimson, Evene.fr, July 2010

This type of theatrical approach bears no resemblance to that of Pierre Blaise, which we discussed recently in Théâtre du Blog. It carries the same demands, the same perfection of form and the same research into another theatrical language in which a child is much more likely to capture the beauty of the world than any adult. Their sensitivity to the world has little to do with our own. Jean Lambert-wild will have opened one of the most intelligent paths today in what we call children's theatre.

Philippe du Vignal, Théâtre du Blog, February 2010

Jean Lambert-wild opens up his adaption, his vision, his understanding of the tale. Disturbing, captivating, his interpretation taps into the secret humour of Daudet's writing, in the heart of this disenchanting journey. Jean Lambert-wild, in order to reveal the hidden meaning in writing too often relegated to the smell of a lavender field, evokes strong and touching images and offers us an armful of flower petals, marvellous poetry for the heart.

Sophie Bauret, Le Dauphiné-Vaucluse, July 2010

In our ears, we hear the warm, smooth voice of André Wilms. And before our eyes, the intrepid Blanquette (Silke Mansholt) moves with gusto. She stands there, human and yet terribly goat-like.
The clinking and warbling music of Jean-Luc Therminarias and Leopold Frey accompanies the heroine's frenzy.
A quick hour of show passes by. ”Already?”, Blanquette asks the black paint. Whatever your interpretation, everyone, adults and children, has their eyes on stalks. This sad tale has a sense of the dawn of happy days.

M.A. La Marseillaise, July 2010

This show is particularly well accomplished, with the coherent and elaborate portrayal of Blanquet steering this tale away from any soppiness and making all the ambiguity and anguish of this piece easily accessible. The same goes for the music by Jean-Luc Therminarias and Léopold Frey, which adds harmony to the show.

Theatreonline.com, July 2010