Compagnie Coup Fatal Mesmerizes the Audience in Orléans

At the Scène nationale d’Orléans, the Coup Fatal company settled in for three evenings. An incredible show, musical but also choreographed and staged. The actor-singers-musicians bring a communicative energy that delighted the audience during the premiere on Wednesday, March 25.

Each actor-musician brings their own chair! Photo by Zoé Aubry

By Bernard Cassat.

Thirteen of them and it’s a true delight. With a guitar-playing conductor, Rodriguez Vangama, who also composed the entire performance with Fabrizio Cassol. Three likembe players, these small wooden boards with attached metal tongues that produce notes when touched, creating a music box sound. The skill in this game lies in the fingers. At the start of the show, they engage with Rodriguez’s two-necked guitar to introduce this typical African music, with rhythmic patterns to infinity and variations that turn into melodies. There are also African percussion instruments, the formidable calabash that makes the floor tremble, drums, and drum sets. The balafon’s deep and muffled sound. To enhance this ambiance, two absolutely incredible dancers materialize the music. One with a small mohawk and the other with a large one, swaying together, taking steps to the right and left, truly speaking with their bodies. And singing too.

And above all, the voices

There are African songs from several singer/musicians or singer/dancers. The balafon player dives into incredibly emotional melodies. His broad, full voice takes us far away. The two dancers also sing, occasionally joined by their sister, the only woman in the company. Suddenly, while the African atmosphere is well established, a countertenor, the only white member of the troupe, sings Baroque arias, Handel, Monteverdi, or Bach. And it fits. Everything falls into place. The Africans take over, or the lyrical singer continues, with incredible fluidity. Voices are present throughout the show.

Choreographic moment. Photo by Zoe Aubry.

Unfortunately, we don’t understand what they say, neither in their original language nor in the Baroque arias. Amid clearly marked rhythms and incessant repetitions, the African sonic magic works, leaving us questioning: the show must tell a story, but what? The stage background and side curtains are woven with recycled balls, as Coup Fatal, the company on stage, hails from Kinshasa, and Congo is a violent country. Perhaps that’s the theme. Yet, their energy is joyful. Still, some military gestures are present, salutes, marching steps by the entire troupe.

Together. Photo by Zoe Aubry.

Then they leave the stage, one by one. But it’s not over. They make way for a kind of second part, the sapeurs of Kinshasa, these elegant men dressed in very colorful attire. They all wear outrageous, sought-after, invented costumes; dresses with ties, large pink boots, kilts worn beautifully, hats from old trunks, daring colors that suit them perfectly. With a refined elegance, they are beautiful, and they sing “Young, Gifted and Black,” words borrowed from Nina Simone, to the audience, with the audience.

Drums in action. Photo by Zoe Aubry.

The staging by Alain Platel is simple but effective. For almost two hours, Coup Fatal takes us on a strange journey through genres, arts, and countries. This blend of opera, dance, mime, African and lyrical Baroque is breathtaking. With an irresistible energy (many young people in the audience couldn’t stop clapping), they won over the crowd. Most significantly, they moved them. Some songs deeply touched with their tone and power. Coup Fatal triumphed, with the audience on their feet.

More information:

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