How American Musicals Changed The Fortunes of Paris' Struggling Théatre du Châtelet

"We took pieces that could be considered as simply commercial and treated them as art. We created the haute couture musical, using a full symphonic orchestra and impressive decors, treating musicals like operas in the hope that these great compositions might be rightfully recognized for their true value."

When Jean-Luc Choplin took over more than a decade ago as director general of Théatre du Châtelet, one of Paris' great cultural palaces, the French press was horrified.

Some nicknamed him Mickey, after Mickey Mouse, because he once worked for Disney. He was accused of being scandalously lowbrow, a purveyor of entertainment over culture.

But despite over 150 years of history hosting celebrated international artists such as Vaslav Nijinsky, Anna Pavlova, Debussy, Ravel, Erik Satie, Tchaikovsky, Mahler and Richard Strauss, the Châtelet was suffering financially in a city that already supported two major opera houses.

So when Choplin took charge he was determined to make the theatre more accessible, offering works that were both popular and sophisticated, attracting new, different audiences with an eclectic program ranging from the classic to the contemporary, ballet to rap and even standup comedy.

But what upset his critics the most was his dedication to what they considered a lower form of art, the American musical.

"People were horrified. They said, 'You cannot do musicals, this will be a complete catastrophe', and pointed out that others had tried before and it had always been a flop,' Choplin explains to The Guardian. It was a risk, but I felt I had to try."

Now, as he enters his 11th and final season at the Châtelet before the theatre closes for two years for essential renovations, the derisive Mickey has been replace with a new nickname, "Châtelet Enchanter." He is regarded as the musical magician who not only brought Broadway to the boulevards but gave the popular comédie musicale a sophisticated French polish and sent it back to New York to critical acclaim and awards.

His co-production of the current Broadway hit, A AMERICAN IN PARIS, originated at the Châtelet and his SINGIN' IN THE RAIN will soon follow. MY FAIR LADY, KISS ME, KATE and THE SOUND OF MUSIC have all been welcomed by French audiences.

His final production will be the great Broadway dance extravaganza 42ND STREET. After that, his plan is to "spend more time with my grandchildren."

The city, which owns and subsidizes the Châtelet, has promised to pay the 150 staff their wages during the renovations. It is expected to seek applicants for the director general's chair in a few weeks.

Edouard Dagher, spokesman for the Châtelet, says the shows will go on when it reopens around September 2019, but no one knows in what form.

"The Châtelet is unique. Jean-Luc has created something that didn't exist in Paris before he created it. He took these classic musicals with their English scripts and songs and treated them like operas, engaging great directors, fabulous costumes and designers and the size of orchestra you don't find even on Broadway. It gave the Châtelet a new identity. Today nobody can say what will be afterwards, except that it will still be a production theatre. We don't know who will replace Jean-Luc Choplin and what project they have in mind. We have to wait and see."

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Visit chatelet-theatre.com/en.

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