Why Alex Lutz’s new show touches the heart
A white horse, a vintage answering machine and a trembling laugh. At the Cirque d’Hiver, Alex Lutz delivers a deeply personal show, on the border between dreams and grief.
A poetic, funny and haunting solo
Entitled Sexe, grog et rocking-chair, this show is like no other. More than a one-man show, it’s a one-man show in the saddle, shot through with the memory of a lost father. Gérard Lutz, a complex man, accumulated objects and pains: Diogenes syndrome, depression, cancer. Here, his absence becomes material for creation.
On the dance floor, a jumble of heterogeneous objects – boxing gloves, pétanque balls, an answering machine – evokes the shadow of an apartment as much as that of a spirit. It’s a Boltanski-style setting, somewhere between art brut and sentimental relics.
Lutz between laughter and tears
The strength ofAlex Lutz, who first came to public attention with Catherine et Liliane and Guy, lies in his ability to make people laugh while at the same time making their throats close. He imitates the baba-cool aunt, the pub buddy, the hollow-voiced priest… all fragments of an emotional puzzle.
One of the most poignant moments? The memory of a father obsessed with his answering machine message. A funny, cruel and true sketch. Two days of silence imposed on the children, for a recording… that no one will listen to. A bitter summary of an era, of a man who wanted to control everything, even telephone reception.
A universal tribute
Alex Lutz plays with his body like a malleable material, transforming it into a living sculpture. He compares himself to a candle, a stick of incense, far from the virile standards he describes with tenderness and irony. The audience laughs, is moved, recognizes itself.
And when Tata Yoyo becomes Papa Yoyo, taken up in chorus like a funeral lullaby, the whole theater vibrates.
Read also: Roland-Garros 2025 arrives on Place de la Concorde (and it’s free!)
