From Paris to Broadway, from “Chicago” to “Monopolis”, from ‘Fame’ to “All That Jazz”, the voices of Liza Minelli, Barbra Streisand, Judy Garland and many other stars resonate “somewhere... over the rainbow”...
Having just finished his studies, Dorante returns to Paris, determined to enjoy the pleasures of the capital. In the company of his valet, he meets two young coquettes in the Tuileries and invents a military career to dazzle them.
What follows is a diabolical imbroglio involving young women, father and friend. Disregarding honour and oaths of friendship and love, Dorante gets caught up in a web of lies that unleashes irresistible misunderstandings. The young women are not outdone in their deception. Who will be the winner of this game of dupes?
Le Menteur, Corneille's last baroque comedy, is a reflection on the dangers of the comedy of lies, with a touch of social satire. It was a great success from the start. Marion Bierry's adaptation is devilishly refreshing, mixing extracts from La Suite du Menteur with lines from La Veuve in a way that respects the typically Cornelian facetiousness of playing, in the theatre, with the theatre.
"I present to you a play so different in style from my last one that it will be hard to believe that they were both written by the same hand in the same winter. The reasons that compelled me to work on it were also very different. I did Pompey to satisfy those who did not find the verses of Polyeucte as powerful as those of Cinna, and to show them that I would be able to rediscover the pomp when the subject could bear it; I did The Liar to satisfy the wishes of many others who, according to the mood of the French, like change, and, after so many serious poems with which our best pens have enriched the stage, asked me for something more playful which would only serve to entertain them." Corneille
What follows is a diabolical imbroglio involving young women, father and friend. Disregarding honour and oaths of friendship and love, Dorante gets caught up in a web of lies that unleashes irresistible misunderstandings. The young women are not outdone in their deception. Who will be the winner of this game of dupes?
Le Menteur, Corneille's last baroque comedy, is a reflection on the dangers of the comedy of lies, with a touch of social satire. It was a great success from the start. Marion Bierry's adaptation is devilishly refreshing, mixing extracts from La Suite du Menteur with lines from La Veuve in a way that respects the typically Cornelian facetiousness of playing, in the theatre, with the theatre.
"I present to you a play so different in style from my last one that it will be hard to believe that they were both written by the same hand in the same winter. The reasons that compelled me to work on it were also very different. I did Pompey to satisfy those who did not find the verses of Polyeucte as powerful as those of Cinna, and to show them that I would be able to rediscover the pomp when the subject could bear it; I did The Liar to satisfy the wishes of many others who, according to the mood of the French, like change, and, after so many serious poems with which our best pens have enriched the stage, asked me for something more playful which would only serve to entertain them." Corneille
