L’Ordre du Jour at the Théâtre du Vieux Colombier

I recently attended the production of L’Ordre du Jour at the Théâtre du Vieux Colombier. This adaptation of Éric Vuillard’s book looks at the specific moments and corporate decisions that led to the rise of the Third Reich and the Anschluss. The play relies on four actors from the Comédie Française to navigate a script that functions primarily as a historical record. It balances moments of broad comedy with a melancholic reflection on the political failures of the 1930s. The production shows how easily a society can slide into disaster when individuals and corporations prioritize their own interests over common decency.

Farce of Evil and Counterfactual History

The production often feels like it has a quality similar to the movie Mel Brooks’ The Producers. There is a clear temptation to make fun of evil so that we no longer fear it. This follows the idea that “to laugh at the worst is to arm oneself against it.” The actors portray historical figures as vain and somewhat ridiculous which strips them of their terrifying aura. I watched the play oscillate between this comedic approach and a more somber tone. It frequently suggests that the tragedy of history could have been spared if only certain events had happened differently.

For example the play highlights the logistical mess of the German army during the invasion of Austria. The tanks were breaking down and the entire operation was a bluff that could have been stopped by a more confident opposition. This creates a sense of sadness for what might have been if people had made better choices at these critical turning points.

Industrialist Lists and the Question of Labor

One of the most direct messages of the play involves the projection of a list of industrialists on a screen. The production places direct blame on these men for their financial support of the Nazi party. Names like Krupp and Siemens appear in large letters to remind the audience that capital played a major role in the political collapse. The text mentions that these companies benefited from French labor during the war. However, the play does not address how that labor actually ended up in concentration camps.

This section feels like the primary punchline of the play where the director uses heavy handed blame to make a point about corporate greed and its historical consequences. The visual of the names on the screen forces the audience to confront the reality that many of these brands still exist today. This adds a level of discomfort to the scene because it connects the past directly to the modern world.

It worked, of course, how could it not? I was left wondering which appliances I own that I need to throw away as soon as I got home.

The Talent of the Ensemble

The actors are the strongest part of this production. Baptiste Chabauty is a musical virtuoso who plays many different instruments throughout the show and adds a layer of artistry to every scene. He moves effortlessly between a xylophone, a cello and other instruments which makes the music feel like an active participant in the story. Laurent Stocker has such a powerful presence that it is impossible to take your eyes off him. He is the kind of actor who could play any role and remain compelling through his voice and his movement. Julie Sicard is a master of comic timing and uses an improvisational style that feels very natural. She manages to find humor in the most rigid historical moments which helps break the tension. Jérémy Lopez also performs well and handles the role of narrator to keep the audience connected to the timeline. He provides the necessary context so that the audience can follow the fast moving historical shifts.

Directorial Effort and the Source Material

I got the impression (perhaps I’m wrong) that Jean Bellorini and the actors had to work very hard to make this piece engaging. The original text of L’Ordre du Jour is essentially a historical record without a traditional dramatic arc separate from history. To fix this the director uses a wide variety of theatrical tools like masks, a giant mirror, and white face paint. The giant mirror reflects the stage and the audience back to themselves which suggests that we are also part of the historical process. There are also mask heads and a constant use of props and music to create visual variety. These elements are necessary because the talent of the cast is what keeps the audience interested in a narrative that would otherwise be a dry recitation of historical facts.

Conclusion and the Theatricality of the Archive

The process of turning dry historical records into drama requires finding a human pulse within the bureaucratic files. Seventeen Moments of Spring achieves this by finding the emotional core of a spy working within the machine of the Third Reich. It uses the weight of the archive and the clinical narration of the files to build a narrative where every pause and every look carries the burden of the records.

In contrast Bellorini uses the tools of theater like masks and music to bridge the gap between the document and the stage.

Although I enjoyed the performance immensely my honest reaction was not to rush out and read L’Ordre du Jour but rather revisit the sophistication of Seventeen Moments of Spring which did not need as many props or as didactic of a message to make a point of the mundaneness of evil.