With a broad smile, David Lescot casually arrives on stage with his Czech guitar, which, he points out, dates from 1964. It is a memento of his childhood, a time when his parents used to send him to one of those holiday camps organized for the Jewish children by the Communist party. His father, too, had gone there in his time. There David Lescot listened to Joan Baez and the protest songs of the time. He was taught songs which reflected correct thinking. It was a bit like in Scout camps, but definitely more left-wing. Anyway, as he had understood from an early age that it was essential not to ever take anything for granted, and to always look for the other side of things, there was little chance that he would let himself be indoctrinated. Besides, it is undoubtedly in those camps that he started developing a real passion for music: he can’t do without it, all his works are filled with music. He remembers those days, tells us about them and confides in us, while tenderly playing his old red guitar and singing, thus setting the atmosphere of a romantic cabaret and building up complicity with us as well as making us laugh. On stage, the tunes and songs we thought we had forgotten are followed by stories about the walks, and the jolly evenings he enjoyed with his friends and supervisors. David Lescot, who already had a critical eye, was in the middle of the group, watching carefully, examining, capturing the moment and discovering the flaws. And so today, in the show for which he received the Molière 2009 de la Révélation théâtrale [Molière Award for Best New Talent] an inviting feeling of nostalgia merges with a sense of humour and melancholy, sensitivity mingles with tenderness. This will prove a rare and delightful moment.
Colette Godard
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