Unalterable Anne Roumanoff. At 58, here is the comedian back on stage for his fourteenth show with a testamentary title, Life Experience. In thirty years of career – an exceptional longevity in the world of humor – the public has remained loyal to him. His shows, whether on tour or in Paris, are always full. No doubt thanks to his immutable recipe: his absence of cynicism, his refusal to p judgments, his taste for nuance, his ability to capture the spirit of the times and his carefully crafted writing.
The actress has left her traditional red outfits for a black pantsuit and white shirt, but, for the rest, her new show is in her image: human, rather joyful, playing down but lucid about our behavior. Anne Roumanoff made peace with her body, divorced to avoid a married life made up of “reproach, routine, snoring” and says he is better in his life.
As in his previous show (Everything is fine !), she slips in a few stand-up sequences between her sketches to take her look at our Kafkaesque era with a certain gift for contemporary Alexandrian fables. The comedian facetiously depicts this “world of automatic machines” which has invaded our daily lives (at the supermarket, at the Post Office, in airports). Our environment is becoming dehumanized, self-help books are becoming the new Bible, and narcissism “the new religion”.
Butcher and demagogue coach
But above all there are its characters, of whom we never tire, and in particular the essential butcher who, without preconceptions, “wokise” thanks to her activist daughter, and realizes to what extent her husband, Jean-Claude, is not at all “deconstructed”. Or the American demagogue coach and her conciliatory method for removing “negative vibrations” in the couple. And then, the representative of the Ministry of National Education came to a library to readapt children’s stories, in an inclusive and feminist version. It is, in Snow White Or The Sleeping Beautyto get women out of stereotypical roles “the stupid gnangnan or the witch”but also to make room for a “transgender wolf” In Little Red Riding Hood. Each time, Anne Roumanoff measures her words so as not to offend anyone.
To meet the expectations of her audience, she ends with her “bistro radio”, a retrospective of the political and social news which made its success on television on Sundays at Michel Drucker. Of “Macron’s shitty karma” to the character “not very festive” by Elisabeth Borne, through the future “chopped careers of young people” poorly suited to pension reform, the sequence is, unsurprisingly, a little lukewarm, even worn out.
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