Review: THE YOUNG GIRLS OF ROCHEFORT at Théâtre Du Lido

To complete his Demy-Legrand trilogy—beginning with The Umbrellas of Cherbourg during his tenure as director of the Théâtre du Châtelet and continuing with Peau d’Âne at the Théâtre Marigny—Jean-Luc Choplin has masterfully adapted Jacques Demy’s vibrant homage to MGM musicals, The Young Girls of Rochefort, for the stage. This was an especially daring undertaking, as the original film was shot almost entirely outdoors in the city of Rochefort! 

In 2002, an earlier attempt to adapt The Young Girls resulted in what could be called a “French spectacle”: an incoherent production with dreadful pop arrangements, extraneous additional songs—some even composed by Michel Legrand—and minimal acting. Despite a talented dance troupe led by the legendary choreographer Reda, the film’s intimacy was lost on the vast stage of the Paris Palais des Congrès. 

The brilliance of this new adaptation lies in its refusal to slavishly replicate the iconic film, instead crafting an original stage musical while preserving the work’s clever blend of French and American cultures—a cocktail brilliantly embodied by a cast and creative team of French and English-speaking talents. 

The cast and ensemble are packed with triple-threat performers (actors, singers, dancers) from both sides of the Channel and the Atlantic. Paul Amrani, a Texas graduate (seen in Anastasia, An American in Paris, A Chorus Line, Chicago), steps brilliantly into the legendary shoes of Gene Kelly—who was originally meant to choreograph the film and whose cameo created a bridge between the small French town of Rochefort and Hollywood. 

Canadian heartthrob and La Voix (The Voice) finalist David Marino, strikingly reminiscent of the film’s Maxence (Jacques Perrin), embodies a youthful, innocent charm, fitting the role perfectly. His voice, as perfectly suited to Legrand and as he is to jazz standards from the American songbook—heard at the iconic Birdland Club in New York alongside Billy Stritch—adds a timeless elegance. 

Arnaud Leonard is entirely convincing in the challenging role of Simon Dame, holding his own against Michel Piccoli’s memorable performance in the film. The multi-talented Victor Bourigault, trained in France, and Valentin Eyme, trained in the UK, effortlessly step into the roles originally played by Grover Dale and George Chakiris. 

Valérie Gabail, outstanding in A Funny Thing Happened on the Way to the Forum, channels the spirit of Danielle Darrieux, who played Yvonne in the film, in which she was the only actor to do her own singing! 

In the double title role of Young Girls, Juiliette Tacchino and Marine Chagnon, lacked a bit of Cathrine Deneuve and her sister Françoise Dorléac's charisma. Their voices, though slightly too operatic, did justice to the famous “Les Soeurs Jumelles,” but the acting was not quite on par with the rest of the cast.  

Interesting fresh ideas include the casting of the young acrobat, Daniel Smith as Boubou, and, out of the multi-talented ensemble, Arcangelo Ciulla and Gregory Garell, the latter standing in for Guillaume Lancien, stand out. 

The creative team behind the 2025 stage adaptation is a powerhouse of talent, blending visionary artistry with technical precision to elevate this production extraordinary hieghts. Jean-Luc Choplin’s leadership as Producer and Artistic Director is pivotal, his knack for spotting triple-threat talents ensuring a cast that dazzles in every discipline. Gilles Rico’s directorial approach injects fresh rhythm and dynamism, reimagining Demy’s vision with a vibrant pulse that feels both nostalgic and innovative, but the real stars of the show are the imaginative choreography and set designs, radically departing from the film. 

Joanna Goodwin’s choreography, drawing from her experience in iconic musicals like Sunset Boulevard and Oliver!, results in electrifying jazz and tap sequences that amplify the show’s exuberance, right from the overture—where can see the touch of his assistant choreographer, Robbie McMillan (who was part of the cast of Choplin’s Guys and Dolls at Théatre Marigny in 2019)—helping bring back the MGM style of musicality and virtuoso choreography. 

Bruno de Lavenère’s set design, infused with his 2024 Olympic ceremony experience, crafts an abstract, but vivid, 1970s-inspired Rochefort that pops with life, while Alexis Mabille’s haute couture costumes—bursting pastels and acidulated hues—capture Demy’s whimsical aesthetic, adding sequins that the film didn’t have. Tim Mitchell’s lighting and Etienne Guiol’s dynamic projections weave a dreamlike carnival atmosphere, immersing audiences in the story’s joy. Unisson Design’s pristine sound, paired with Patrice Peyriéras and Thierry Boulanger’s masterful orchestration of Legrand’s jazz-tinged score, ensures every note resonates with clarity and emotion.  Too bad the excellent orchestra is not a little more visible.  

Still, this team’s collective brilliance sets the stage for a definite production of Les Demoiselles de Rochefort, which deserves a tour in France and trips across the Channel and the Atlantica, where it remains sadly less known than Demy and Legrand’s Umbrellas of Cherbourg. 

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