A heckler who shouted ‘we can’t hear you’ at a renowned actress as she delivered an ‘inaudible’ dramatic monologue has sparked outrage, with critics and fans ‘almost coming to blows’ as they were arguing about performance.
Isabelle Huppert, one of France’s biggest stars of stage and screen, had the sole speaking role in the modern adaptation of the 17th century tragedy, Bérénice.
She continued her performance as the outraged audience silenced those who expressed displeasure with the piece’s avant-garde interpretation.
Spectators left the Théâtre de la Ville in Paris divided over the show and the audience’s reaction, with applause and boos at the end of the performance.
Some shouted at each other leaving the March 19 show, one critic reportedand others laughed during what were supposed to be the most tragic scenes.
Isabelle Huppert, one of France’s biggest stars of stage and screen, had the sole speaking role in the modern adaptation of the 17th century tragedy, Bérénice. Pictured: Huppert at the Oscars in 2017
Spectators left the Théâtre de la Ville de Paris (photo) divided over the show and the audience’s reaction, with applause and boos at the end of the performance.
The original play, written by Jean Racine, tells of a love triangle between Titus, future new emperor of Rome, his friend Antiochus, king of Commagene, and Bérénice, queen of Judea.
Its adaptation by Italian director Romeo Castellucci was highly anticipated, but received mixed reviews.
The adaptation’s only voice is Huppert’s Bérénice, and her rambling monologues as the “central earth force” are altered by a computer, The temperature reports.
During one of these speeches, an audience member protested that he was having trouble hearing Huppert, only to be told to “shut up” by others.
Huppert, who has been nominated for a record number of Césars in France, was keen to downplay the incident, but was clearly unimpressed by the criticism.
“Romeo Castellucci’s works have always elicited the strongest reactions possible,” said the Oscar-nominated actress.
” It is not a surprise. But we took it to the next level by speaking directly to an actress during a performance.
A national debate has now been sparked on the type of behavior to be expected from the public in France.
The original play, written by Jean Racine, tells of a love triangle between Titus, future new emperor of Rome, his friend Antiochus, king of Commagene, and Bérénice, queen of Judea. Pictured: an adaptation at the Royal Opera House in 2019
Some critics have argued that audiences should enjoy performances in respectful silence, however difficult it may be.
Others defended rowdiness, saying theaters should return to a louder culture, as seen in the 19th century, in which actors receive instant feedback from their audiences.
Didier Péron, culture editor at the newspaper Libération, defended the heckler by asking: “How can we continue to talk about live performance if (…) a little untimely passion, a difference of opinion, of taste, of support or repugnance, can it not explode without us witnessing (…) intolerable violence?
Florence Naugrette, professor of theater history at the Sorbonne, suggested that interacting with audiences is part of actors’ work.
“A live performance, by definition, carries risk,” she said. “A show without risk is not theater, it’s cinema.”
Bérénice is now going on tour throughout France to present to curious fans a drama that has made headlines in the country.
Sometimes rowdy behavior can cross the line and audience members have to be removed, as has been the case in recent disruptive incidents in UK theaters.
Last summer, four rowdy and disruptive audience members were kicked out of Grease the Musical in the West End for heckling drunken staff.
Union Bectu revealed in 2023 that almost half of UK theater staff say they have considered leaving the industry due to poor audience behavior.