The authors of “Rapaces” claim to have written an incriminating piece on the heritage of the Fiat family, following the death of the founder of the famous automobile brand.
France Télévisions – Culture Editorial
Published on 07/11/2024 06:00
Reading time: 3min
Hélène Lestrade and Joëlle Séchaud in “Les Rapaces” by Attilio Maggiulli and Claudine Durand Simon at the theater of La Comédie italienne, in Paris (2024). (FABIEN TURBINE)
Called “brûlot” by its authors Attilio Maggiulli and Claudine Durand Simon, Les Rapaces sees the widow of Gianni Agnelli, former president of Fiat, and his grandson Lapo Elkann confront each other, under the gaze of a medium and the silent but illustrative interventions of a worker from the famous Italian brand.
The confrontation, eventful and very argued, takes place at La Comédie Italiane, in Paris, in a powerful text with a tripartite interpretation, between Hélène Lestrade, Joëlle Séchaud, Attilio Maggiulli, accompanied by Yanis Mostefa-Sba.
To the representation of boyswe think of the Atrides of Greek mythology, so virulent are the antagonisms and threats between the heirs of Gianni Agnelli. Closer to us, it is no coincidence that Attilio Maggiulli and Claudine Durand Simon subtitle their piece Dallas at the Agnellis by resituating their intrigue in a business environment. On stage, Hélène Lestrade (Principessa, Marella, widow of Agnelli) holds up the dragee to Joëlle Séchaud (Lapo Elkann, her grandson), facing medium Gustavo Rol (Attilio Maggiulli) who counts the points.
At first glance, it’s good to see a production that takes care of the decor and the costumes (splendid 18th century costumes), in reference to commedia dell’arte, while the current stage trend is towards stripped-down sobriety. And then we appreciate the intelligence of the text which fuels an abundant and virulent diatribe between shameless opportunists vying for the biggest share of the pie.
Essentially fueled by the exchanges between Hélène Lestrade and Joëlle Séchaud, who plays a male role, Les Rapaces bears its title well, as the lack of consideration for the deceased competes with the lure of gain. Car Fiat is a flagship of Italian industry, part of Stellantis since 2021, following the merger with PSA Peugeot-Citroën and bringing together numerous brands including Alfa Romeo, Maserati, Ferrari (90%), Chrysler and Jeep . This shows that the stakes are enormous and ostensibly represented on stage.
The anachronism between the subject, concerning a 21st century entrepreneurial group, and the 18th century environment of the piece reinforces the monarchical character of Fiat in the transalpine economy. It is found in the interpretation in particular of Hélène Lestrade as Principessa (Princess), a nickname full of nobility which qualifies her. The result is clear in a power struggle whose stakes are not based on benevolence towards subjugated subjects, but on extracting maximum profits from enslaved workers and employees.
“The Raptors”
By Attilio Maggiulli and Claudine Durand Simon
Directed by: Attilio Maggiulli and Claudine Durand Simon
With: Hélène Lestrade, Joëlle Séchaud, Attilio Maggiulli, and Yanis Mostefa-Sba
Wednesday to Saturday at 8:30 p.m., Sunday matinee at 3:30 p.m.
The Italian Comedy
17 rue de la Gaité, 75014 Paris
Tel: 01 43 21 22 22
