The Fantasticks, review by Matthieu ROC
The Fantasticks in Strasbourg — a charming revival and a standout El Gallo
A recent revival of Harvey Schmidt’s The Fantasticks, presented by the Opéra national du Rhin and staged at the TJP Grande Scène in Strasbourg, delivers a compact, poetic evening that highlights the virtues of chamber musical theatre: economy of means, clarity of line, and an emphasis on storytelling. In a careful French adaptation by Alain Perroux, the production preserves the original’s intimacy — two musicians (piano and harp), five singers, and three actors — while offering a fresh theatrical vernacular that feels both light-hearted and literate.
Direction, design and overall approach
Myriam Marzouki’s direction favors refined theatricality over broad slapstick. The staging leans on minimalist devices — a cardboard moon, confetti to evoke rain or snow, and a literal “wall” played by a mime — creating an evocative, suggestive world rather than an elaborate spectacle. Margaux Folléa’s sets and Laure Mahéo’s costumes start from a gently nostalgic 1960s palette, supporting the score’s wistful charm without overwhelming it. Christine vom Scheidt’s discreet choreography and Emmanuel Valette’s lighting complete an aesthetic that is polished and audience-friendly: elegant, accessible and adaptable to the small stages for which this musical was conceived.
A compact, multi-generational score
Schmidt’s music — most famously the ballad “Try to Remember” — sits at the heart of the piece. The arrangement for harp and piano proves surprisingly rich: the two instrumentalists supply rhythmic propulsion and colour, often suggesting a full orchestra while preserving the intimacy of the original Off-Broadway concept. Perroux’s French text is singable and well-rhymed; it retains the work’s gentle poetry and occasional sly humour, making it both readable for French audiences and faithful to the musical’s spirit.
The performances
The cast is uniformly youthful and energetic, blending training from musical-theatre and opera worlds. Jessica Hopkins (Luisa) shows appealing freshness and vocal clarity; Artus Maël (Matt) brings a warm, expressive tenor suited to the role’s youthful ardor. The comic duo of the two fathers (Benoît Moreira Da Silva and Yann Del Puppo) provides several of the show’s most uproarious moments, and Quentin Ehret as the mute is a parade of comic invention — at once physical, poetic and utterly engaging.
Eduard Ferenczi-Gurban as el gallo
A particular highlight of the production is the performance of Eduard Ferenczi-Gurban in the role of El Gallo. This figure — part narrator, part charlatan, part sentimental schemer — requires a rare combination of theatrical flair and vocal presence. Eduard meets the challenge with natural ease. His stage persona commands attention and his reading of the material lends the evening an extra lyrical gravity.
“The most beautiful role is certainly that of the villain, El Gallo. At once a poetic narrator, a seducer, and a thief, Eduard Ferenczi Gurban sings with charm and simplicity, managing to give his character an aura of mystery and poetry that stands apart from the surrounding excitement.”
That appraisal captures the essence of his contribution: a performer who balances seductive theatricality with musical sensitivity, anchoring the production whenever his presence fills the stage. Far from caricature, his El Gallo feels human, wry and poetically tuned to the show’s bittersweet centre.
This revival of The Fantasticks is an inviting demonstration of how modest means and careful artistic choices can yield a richly satisfying evening. With clear direction, tasteful design and an ensemble that combines charm with technical polish, the production offers both family-friendly entertainment and moments of genuine lyricism. Eduard Ferenczi-Gurban’s El Gallo stands out as a memorable, vital performance — a reminder that small-scale musical theatre can still produce resonant, artistically refined work.
Source: interview with Matthieu Roc
Image credits: Klara Beck
The Fantasticks, review by Matthieu
