“In all we do, there is always a kinder way to do it.”

STAGE DIRECTING PORTFOLIO

ARTISTIC STATEMENT

Directing, for me, is an act of listening—to the music beneath the words, to the silences between gestures, to the wild hopes and quiet fears that artists bring into the room. I am drawn to musical theater and opera because they are, at their heart, impossible acts of collaboration: places where voices, bodies, and imaginations collide and something unexpected is born.

I believe theater is a laboratory for empathy and transformation. I want every rehearsal to feel like an invitation: to risk, to play, to get lost, to find something true together. I am fascinated by the “messy middle”—those moments when no one knows what comes next, when the map runs out and we have to invent the road as we walk it. That’s where the real discoveries happen.

I love working with artists from all backgrounds—actors, singers, dancers, dreamers—because each brings a different color to the palette. My process is open, curious, and fiercely kind. I want everyone in the room to feel seen, valued, and brave enough to try the thing that scares them.

I am always searching for the spark that turns a collection of individuals into an ensemble, and a script into a living, breathing event. I believe that when we make theater together, we are not just telling stories—we are building new worlds, and maybe, if we’re lucky, glimpsing who we might become.

THE LESSON (Eugène Ionesco)

I first fell in love with The Lesson after seeing Steven Skybell’s unforgettable performance as the Professor in the Atlantic Theater’s 2004 New York production. That experience stayed with me, and in 2010, I finally had the chance to direct and play the Professor myself in France.

Wearing both hats—director and lead—was a real challenge, but also a thrill. I had the pleasure of working with two talented emerging actresses as the Student and the Maid, and collaborated closely with Catherine Gargat on makeup and wigs, and with Olivier Horn, whose lighting design brought a whole new dimension to the show. I handled the direction and set design, and those creative partnerships, especially with Olivier, made the process especially rewarding.

The production found its audience: our 100-seat theater was two-thirds full on weekdays and packed on weekends. We received a wonderful review in lemague.net, and the “livre d’or” filled up with generous, heartfelt comments from audience members. I’ve included the review and some of those audience reflections below.

Extracted from the Director’s Note:

“I immersed myself again in the world of Ionesco—his biography, his work. I rediscovered a fascinating universe, and a body of work that remains as relevant as ever. It touches on universal aspects of human nature and on behaviors we still see all too often: dynamics of domination between individuals (violence, incest, betrayal of trust, abuse of power, etc.), and the consequences when these dynamics play out on the scale of a country, leading to political tyranny.

The first reading of the play is above all about the relationship that develops between the Professor and the Student—a tyrannical, dominating relationship, set in motion by a sexual desire that becomes increasingly difficult to control.”

“The mise en scène, built on minimalism, was enhanced by subtle and well-balanced lighting
—at times very poetic—impeccably created by Olivier Horn.
These technical elements were skillfully used by the artistic team, already a sign of the quality of the direction.”

“The quality of the direction was evident in the small finishing touches, such as the handling of the beginning and end,
which brought everything full circle with perfect restraint.”

“It seems to us that the result achieved by the team goes beyond the initial intent
and, very successfully, evokes the ‘utopia’ of the absurd in a way that is accessible to all—a considerable achievement!”

“The Professor, in a suit a bit too tight and short, almost stiff, was played by Ivan Magrin-Chagnolleau
with diabolical effectiveness, creating an ambiguous and disconcerting physical presence.”

“Ivan Magrin-Chagnolleau’s character work was particularly skillful. The character became magnetic,
especially when, after the murder, he removed his wig, revealing a true mineral quality,
beneath which appeared a guilty little boy seeking the maid’s affection.”

(Alfred Roubec for lemague.net, October 15, 2010 - Read the whole critique in French here.)

Bravo ... a very beautiful piece in which anxiety rises inexorably ... what wonderful acting ... we wish you every success.

Thank you, Ivan and your troupe, for this journey into the land of the absurd ... I look forward to seeing you again on stage.

THE CHOICE OF HERCULES (Hyppolyte Wouters)

The Choice of Hercules is a musical play by Hippolyte Wouters, centered on Handel at a crossroads—torn between financial comfort and artistic freedom, romance, and the creation of some of his greatest works. While the piece had been staged before in Belgium (Wouters’ home country) with recorded music, our production at the Aix-en-Provence Festival was the first to feature live musicians and singers.

One of the most rewarding parts of this project was working with a cast that blended professional singers and a seasoned actor who wasn’t a singer by training. Together, we found ways for the singers to deepen their acting, and I gently encouraged our actor to step into Handel’s music—something he’d never done before. The trust and openness in the room made it possible for everyone to stretch beyond their comfort zones.

We previewed the show in Bédoin for a small audience, then brought it to a packed Cloître des Oblats in Aix-en-Provence. Both audiences and the press responded warmly. I was especially grateful that one review recognized how naturally singing and acting came together on stage—something we’d all worked hard to achieve.

Below, you’ll find three press reviews and some pictures that capture the spirit and reception of the production.

“A beautiful musical show”, “Magnificent artists”, “Quality and professionalism”. (Vaucluse Matin, July 28, 2009)

“Successful experience”, “The audience wanted more”, “The actors brilliantly transitioned from Italian opera singing
to comedy”, “The singers brought life and emotion to the play”, “Bravissimo”. (La Provence, July 27, 2009)