Crescendo

Agnès Jaoui obviously relishes the challenge she sets herself in this backstage satire which manages in a oner to tackle #MeToo issues, generational conflicts, artistic endeavour and creative differences. She succeeds in negotiating tricky ground with dexterity and never panders to one side or the other. It’s all done with a wry humour and without any preachy overtones.

Besides writing and directorial responsibilities Jaoui also incarnates with aplomb a veteran singer playing the role of the countess in the trouble bestrewn outdoor production of The Marriage Of Figaro in a gorgeous ruined amphitheatre in the south of France.

Completely out of her depth is the youthful director (Claire Chust) who is hired for her internet “star” credentials as the company strives for financial and artistic credibility. One of her innovations is to erect six huge phallus shaped columns to enhance the production’s feminist credentials.

Not everyone is on board with her vision least of all Jaoui’s countess, and the abrasive traditional tenor Piazonni (Vincenzo Amato) who is dismissive of Eye Haïdara (cast in the male role of Cherubino for diversity’s sake) and, just as importantly, attracts serious allegations of impropriety and misconduct around his female colleagues.

Meanwhile Daniel Auteuil as Igor, the conductor, attempts to pour calming oil on troubled waters although he may have some lurking scandals in his own background. And just for good measure there’s a tetchy scenario in the ranks about the choice of Sophie (Tiphaine Daviot), hired it seems because she is the daughter of a major donor.

Jaoui deliberately doesn’t take sides – the cast and crew debate the issues as the whole production teeters on the brink of being abandoned and financial and reputational damage looms large. Nobody escapes her acerbic attention from the ingrained male prejudices to the woke new generation trying to prise them out in to the open.

The opera staging is impressive with lavish costumes and spectacular sets and a cast who seem committed to a roller-coaster ride which has its rough patches but in the main overcomes them.

The relationship between Jaoui and Auteuil affectingly has echoes of the performer’s synergy with the late Jean-Pierre Bacri with whom she was inextricably linked for many years. It’s good to see Jaoui back at the helm with her first directorial assignment since Place Publique in 2018.

Crescendo has a buoyant sense of fun and takes joy in the complexities of the creative process and behind the scenes rivalries while managing to explore sexual politics from all sides – no mean feat in such febrile territory.

Reviewed on: 11 Jun 2026