Iranian destinies

Inevitably, taking a seat in the rows of the theater, one thinks of them: these women who, since the death of the young Mahsa Amini in Tehran last September, have cut their hair, thrown their veils into the fire and demonstrated for freedom, risking their lives. Between reality and fiction Persian dollswhich triumphs this fall in Paris before going on tour, the invisible bond of infinite courage.

The play sails between Iran in the 1970s and Avoriaz, in Haute-Savoie, at the end of 1999. Two horizons, two eras which form the two parts of a single and same romantic epic. “Yeki bood, Yeki nabood…” (the equivalent of “Once upon a time” in Farsi), thus begins this show where the public follows, held in suspense from start to finish, the tangled destinies of Bijan, Manijeh, Manoucher, Bahar or even Sepideh. Six formidable actors (Aïda Asgharzadeh, Ariane Mourier, Toufan Manoutcheri, Sylvain Mossot, Kamel Isker and Azize Kabouche) each playing several roles, lead a plot full of twists and turns.

From the University of Tehran to the chairlift of the alpine station, passing by the prison of Evin to the hall of Orly airport, a few simple decorative elements are enough in the blink of an eye to change places at the thanks to a staging full of tricks and poetry. The director Régis Vallée thus very nicely orchestrates the link between the characters of the two eras, magnificently woven by the pen of Aïda Asgharzadeh, born in France in 1982 to Iranian parents. His text constantly oscillates between the onirism of the tale and the horror of an unspeakable regime; he plays relentlessly with emotions, leading the viewer down vertiginous slopes between laughter and tears. A vibrant tribute to the strength of the Iranian people, to this beauty which, despite the darkness of misfortune, carries within it a glimmer of hope.


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