Jeane Manson to play a diva alongside Popeck

Who hasn’t crooned “Before you say goodbye”, “Harlem Chapel”, “Make me dance”, “Live your life”? Titles that count allowed the great successes of Jeane Manson. Of American origin, the singer of variety built her career in France, thanks to her duets in “Number One”, the famous show of Maritie and Gilbert Carpentier and thanks to the songwriter Jean Renard to whom we owe Mike Brant’s fame.

In addition to knowing how to give voice, (3 octaves) the artist, sex symbol of the 70s and 80s, to the 8 gold discs, the platinum disc, the more than 30 million discs sold and the 600 songs recorded , also knows how to use his pen. She has shown this twice with “Prayers of Love” and “An American in Paris”; two books published by Editions du Rocher. His talent does not end there. Painter, emeritus rider, Jeane is also an actress. She has appeared in several feature films and also starred in the musical “L’homme de la Mancha”. Finding her on the stage is therefore not surprising. It is alongside Popeck that she returns to the theater in a role that strikes her like a glove: that of a lyric singer, ex-wife of Salomon (POPECK) whose sister wishes to end her life. How will the announcement of his assisted suicide in a specialized establishment be perceived by his family? Who will this surprising decision benefit? As the ceremony begins, the “operation” process turns sour. Between tears (of crocodiles) and laughter, the true natures are revealed.

To better tell us about the play, who better than Jeane Manson to answer our questions?

Daily Impact European: We meet you on stage, but not to sing there …

Jeane Manson: In the play I’m Bathsheba, I sing more than I act, yes, and yet I started my career in film. But each song has its comedy …

DIE: What’s the pitch of the piece?

JM: She talks to us about “assisted lighting”, that is, assisted suicide. It takes place in Switzerland, a country where this moment of saying goodbye is completely legal. Rest assured, despite the seriousness of the subject and its intellectual aspect, the play is very funny. We laugh a lot. The characters who will take part in this end of life, beyond the crocodile tears they will shed out of sadness, will also wonder about what will be left to them. So this is an original, relevant, very realistic and very current play that I hope will have a long life.

DIE: Beyond the theme of active euthanasia, which is prohibited in France, which is discussed, what attracted you to play in this play?

JM: The fact that the play is about Poland, the pogroms, the Second World War, but also being able to play with Popeck. The subject is deep there. He addresses all religions by mixing the philosophy of yesterday with that of today. Olivier Lejeune put his vaudevilesque touch into it, which makes it a piece of entertainment that allows the mind to escape a little bit from the context that is ours today.

DIE: Is that the primary vocation of theater for you?

JM: Yes. To allow through the art to escape and have fun.

DIE: Do you understand that people want to stop living?

JM: We have the right to choose our life and the end of our life, knowing that there is always a little karma that can remain if we go away without it being natural … But that is a question of soul …

DIE: Tell us about your character …

JM: I play a lyrical singer, but who, by virtue of her profession, knows both highs and lows, so who is not fooled. She is the ex-wife of Salomon (POPECK), a ready-to-wear merchant on rue d’Aboukir whose sister wants to put an end to her life.

DIE: What do you bring to your character?

JM: My voice, my presence, a certain color and my heart.

DIE: Did Olivier Lejeune give you carte blanche in your interpretation?

JM: Absolutely, while orienting myself all the same. It was the same with the other actors. We helped each other and it was wonderful to see a family come together around a play.

DIE: What about Popeck, your stage partner?

JM: It’s an honor to be able to answer him. He is a very good actor. He knows what he wants. He has a fantastic presence. I love playing with him and I think it’s mutual. We are getting along very well.

DIE: So you’re going to be on stage. The public will not come to see the singer there. What will be your relationship with him?

I hope to give her the best of myself and introduce her to the actress that I am, for those who didn’t know !!! I studied at the Lee Strasberg school in Hollywood in the 70s. I am delighted to be back on stage, after having played “Un Homme Parfait” with Guy Marchand, “La Présidente” with Roland Giraud, “Le Sexe Faible »With in particular Patachou and Michel Creton.

DIE: The confinement has forced you to postpone your tour from December. Is this frustrating somewhere?

JM: Yeah, it’s frustrating, we rehearsed a lot, so we didn’t end up playing it in front of the audience for our premiere. But this is only a postponement, and very soon I hope !!! The biggest frustration right now is this confinement.

DIE: What exactly does the crisis we are going through inspire you?

JM: You shouldn’t kiss your arms, keep moving forward and maybe know how to diversify. To quote John Paul II, “let us not be afraid”. We have to stay positive. At the moment, I think a lot of Charles Trenet because you have to sing “Y’ a d´la joie “. We have to find that. That’s why, you have to go to my YouTube channel, Itunes, or to www.jeanemanson.com to listen to my latest songs, my new album “Latina Sensacíon” (laughs).

“Crocodile’s Tears” a modern and hilarious comedy by Claude Cohen and Thierry Crouzet, directed by Olivier Lejeune assisted by Cyril Lejeune. With Jeane Manson, Popeck, Benoit de Gaulejac, Christophe Abrial, Géraldine Szajman and Martial Courcier – On tour throughout France from December 4, 2020 until December 2021 – Information on www.jeanemanson.com – Reservations on the usual sites .

Teaser:

Happy Happy Birthday clip:

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