The performance takes place on the magnificent estate of Prince Simon de Merode.
The nobility is a separate cell within society with, until recently, much power. The de Merode family is one of the 5 princely families of high Belgian nobility. All current Merodes descend from Pierre-Béranger, third brother of Alphonse II, King of Aragon. His family tree goes back no fewer than 27 generations. With nobility, we immediately associate it with prosperity. Must we fill that 'wealth' with assets or rather spiritual richness, or both? He was raised with the values, the criteria of the noble family 'noblesse oblige'. Since 2006, the magnificent Merode castle has been under his responsibility. The current castle lord maintains and modernizes the buildings. Maintaining an ordinary house is already a task, let alone a castle with the surrounding lands. That costs money, bags of money. Thanks to the association Friends of Westerlo Castle, large-scale renovation projects began in 2013.
Many people of nobility or wealthy individuals have acted in the past and still do today as patrons for artists of all kinds. Simon de Merode is an entrepreneur through and through and the initiator, driving force and organizer of Historalia. This in a stream of consciousness, a sort of obligation to previous generations. He wants to bring historical locations back to life. Historalia opts for a repertoire that nestles between present, past and future.
After the successful musicals 'Marie-Antoinette', 'Albert I', 'Rubens', '1830' and 'Jeanne d'Arc', Historalia now presents
NAPOLEON
Wednesday evening visitors experienced two spectacles for the price of one. The solar eclipse and the complex life journey and history of this military commander condensed into highlights and debacles in a performance of over 3 hours with an impressive cast of 140 people. Napoleon, in this time frame an obvious figure alongside some heads of state who likewise consider themselves God. There are many parallels to draw. The stage becomes a crossroads in time with historical costumes and resonance with the current world. History repeats itself again and again!
Scenery and Costumes
The scenery is an inclined plane in an inverted V-shape with two hatches in the middle through which quite a lot of people can quickly enter and exit alongside stage left and stage right. Here and there you can see wooden, splintered wheels (later you make the association with wagons that had to pull the cannons), heads of fallen horses and right at the back a silver branch of a laurel wreath and behind it the elegant contours of the castle.
Performing on an inclined plane is an extra challenge for actors, singers and dancers. This arrangement was carefully thought out by set designer Eric Van Der Palen and provides visually impressive images of war scenes throughout the performance. On the left and right are two more small playing areas, including Joséphine's boudoir.
For the costumes, Elvira Van Bavinckhoven was brought in and she is a delight to the eye. Make-up artist Virginie Verpoucke took care of the intricate hairstyles and wigs with an eye for detail.
Direction and Performance
Jef Hoogmartens crystallized Napoleon's extraordinary journey into a manageable story and Jelle Cleymans provided the lyrics in a mutually intertwined, inspiring musical narrative. Napoleon reflects on socio-political currents, pride and human rights, displacement and individuality. Musical director Sam Gevers composed the music in a broad range of moods and colors with some beautiful flourishes. Director Luc Stevens delivered a masterpiece. His experience with other large-scale spectacles he has employed here as well. Keeping such a mass of people mobilized is not given to everyone. The scenery is exploited as inventively as possible, together with Roy Jonathans, who provided the choreography.
You cannot say that 'Napoleon' is bad, but there could have been more in it. Was it the pressure of the premiere, but Jelle Cleymans does not entirely convince as a young revolutionary and daredevil. The ambitious, strong man, visionary who worked his way to the top ruthlessly, but is like wax in the hands of a woman. Happiness is worm-eaten. While he fights one battle after another, his wife Joséphine, played by Dutchwoman Piek Van Der Kaaden, amuses herself with other gentlemen, her sweets, an actress/singer with a provocative sensual energy.
During the duet 'Dolce Amore' with his new bride Joséphine, the immense choir sings and dances along and takes up the entire space. The dance has a Spanish tint and looks very beautiful when they make simultaneous arm movements, but in between everyone just does whatever they want with their arms and that is extremely chaotic! 'In der Beschränkung zeigt sich erst der Meister'. The battlefield, man against man, is then skillfully orchestrated and illustrates the brutality of warfare. Murat's sung commentary: "Who thinks about aesthetics in war?" hits hard. The viewer gains some factual material from Napoleon's campaigns. We can hardly imagine it: his soldiers had to march, packed and laden, 30 km a day from one battlefield to the next.
Karin Jacobs, as Napoleon's mother, has no large role, but she delivers a strong and convincing performance. An unyielding lady with a will and life wisdom. She also impresses in terms of vocal technique.
Erik Goris as political figure Talleyrand stands there like a house: controlled, prominently present. A man who manipulates, but also sees through things and people. Equally credible is Jervin Weckx as political figure Murat, and he has beautiful singing parts. Ludo Hoogmartens performs a dual role: Barras and Tsar Alexander. Wout Selles plays the role of Lannes, so to speak Napoleon's right-hand man, and Melia Loi is seen as Eléonore, the chambermaid and dresser of Joséphine and Princess Marie-Louise.
With pep talks from Napoleon, soldiers and ordinary people are deceived. The muskets crack to beat the band. Major victories such as the Battle of Austerlitz, where he defeated the combined armies of Russia and Austria, are covered. Young people die in droves, fall like flies. The sloping plane makes the dimension of the massacre observable. The madness of war!
The fame and renown of his battles spread from mouth to mouth. Napoleon is prompted to resist the powerful Directory. The reign of terror that brought power to the wealthy bourgeoisie. The regime struggled with great corruption and leaned heavily on the army. He carries out a coup, supported by part of the soldiers; he manages to persuade the other half. This is followed by a grand public festival in a round dance on the immense stage. Song and choreography are somewhat infantile, over the top. It leans towards a parody. Here again: less is more.
Napoleon develops delusions of grandeur and has himself crowned emperor.
Particularly spicy is Napoleon's duet with Tsar Alexander; with light prancing steps they make a parody of the seriousness of the situation. Shortly after, friend Tsar Alexander becomes the enemy. Russia too wants Napoleon to fall into its grip. He gets some headwind from his entourage, but his hunger for power can no longer be restrained. He easily finds arguments to legitimize his power and violence and pulls the wool over the people's eyes. However, this mission goes awry. The audience gets to see a beautiful and poetic scene. Snowflakes swirl down in Westerlo at a temperature of 25 degrees! Napoleon realizes it's going wrong. Instead of supporting his soldiers, he flees with his tail between his legs to safer places, while the boys perish from wounds and biting cold.
His mother has meanwhile let him know that his beautiful Joséphine is not averse to a crooked path. That reign will be short-lived, because no children are born and he has no male heir to the throne. In a French rage he throws Joséphine out and takes up with his wife's chambermaid, who later gives him a son. At first he's pleased with the child, but shortly after he never wants to see her again, because the child is a bastard. He brings Joséphine back in. His mother impresses upon him that he urgently needs a legitimate heir to the throne. He remarries with a young Austrian princess and Joséphine is pushed aside. One of the most beautiful and impressive scenes is Joséphine's song "How dare you", in which she pours all her frustration, hatred and love. She experiences the music with every fiber of her body. Inner turbulence is filled with expression. A performance that continues to resonate.
Then Napoleon makes the ultimate mistake: Waterloo. His army is routed by a large coalition of armies: the British-allied army and the Prussian army. Here again a magnificent song and tight choreography performed by an amazing group of dancers/singers. The choreographies with the soldiers reflect strength, resilience, but also vulnerability. A fireworks display for eye and ear. Poignant realism with a contemporary twist.
As Napoleon's leadership wanes, the laurel wreath gradually turns rusty. Nothing is left to chance; every detail is used.
Then Talleyrand has had enough and Napoleon is banished to the island of Elba. The final image after the bows takes one's breath away. An empty stage/battlefield full of rifles, with bayonets. It leaves room for imagination.
'Napoleon' is a journey through history. Chapeau to all performers who, at these tropical temperatures, in heavy costumes and wigs under the spotlights, give their best. The many colleagues behind the scenes also share in this respect. Those who love grand open-air spectacles will certainly get their money's worth. Until September 19th.
A think tank within Historalia is already preparing a new production. Next year 'Maria of Burgundy – the last duchess' will be seen at the Castle of Wijnendale
