The Lady of Lourdes

Bernadette, the Musical

In February of 1858, near a forest grotto, a young girl named Bernadette Soubirous was out collecting firewood with her sister and a friend. From a niche in a riverbank grotto, the 14-year-old saw, as she is quoted saying, “a dazzling light and a white figure.” It would be the first of 18 visions Bernadette would experience of a young woman she called “Aquero.” Her companions said they saw absolutely nothing. 

Three days later, Bernadette returned to the grotto and saw the vision once again. She would return every day for the next two weeks. And although she only told her siblings and friends about the visions, the news spread. Some of the villagers thought the girl was lying or mentally ill, but about half of the townspeople believed that Bernadette was really seeing the Virgin Mary. The young girl never made that claim. Bernadette merely described the vision as a smiling “small young lady” wearing “a white veil, a blue belt and a yellow rose on each foot.” When a spring suddenly erupts at the site, she said that the Lady of Lourdes told her to drink and wash in it and to eat the herbs that grew there, as an act of penance. 

Bernadette was repeatedly interrogated and tormented by the French government and the Catholic Church. They particularly pressed Bernadette for the lady’s name. Bernadette eventually heard the lady say, “I am the Immaculate Conception,” a religious concept that the girl knew nothing about previously. She also said that the lady requested that a chapel be built at the site. The Mayor of Lourdes tried to barricade the grotto and assign guards to discourage the public from flocking to the site. But it didn’t work. Bernadette, who had always been sickly, grew older and eventually weary of all the attention. She finally decided to leave her home and family to became a postulant, joining the Sisters of Charity. When she passed away at age 35, the young woman was canonized by Pope Pius XI as Saint Bernadette.

The story of Bernadette has been depicted in many forms. After some earlier films about the “The Virgin of the Rock,” Franz Werfel wrote his novel, The Song of Bernadette. In 1943 the book was adapted into a popular Hollywood movie, starring the Oscar-winning Jennifer Jones in the title role. After that film’s success many other films, plays, television programs and books have appeared over the years, all telling the story of the young girl of Lourdes. But in 2019, BERNADETTE, THE MUSICAL, written by Serge Denoncourt, with music by Gregoire and lyrics by Gregoire, Lionel Florence and Patrice Guirao, premiered in Lourdes, France. Since then, this powerful and deeply moving musical, adapted into English by Barry Blue, finally made its way to the United States.

This is actually a simply-told story about a lovely, innocent young girl who possesses a quiet strength and a beautiful smile. Bernadette hails from a very poor family. But unlike others who might seek fame and fortune, Bernadette chooses to reject worldly comfort and disregard societal pressure and conformity to simply tell the truth. Her journey becomes an emotional and soulful exploration of personal faith, strength and resilience. She told all those who badgered and pressured her for details that “I was asked to tell you, not to convince you.”

Directed with power and staged with great simplicity by Serge Denoncourt, the production sometimes feels like an overproduced concert performance. Bernadette often takes her position centerstage, and then the ensemble flanks her, entering downstage left and right. Then they leave until they’re needed again. The same is true for the supporting characters. Most of the show’s visual splendor is provided through Martin Labrecque’s dazzling lighting design, Stephane Roy’s massive and detailed set design and some profound and moving video images, courtesy of Silent Partners. Wisely created from a black, gray and brown color palette, Meredith Caron’s costume designs are period perfect. Her choices of fabric, from rustic homespun to posh and polished, help differentiate between the classes.

The entire cast can boast some of the most glorious voices ever heard in a touring production. Bernadette Soubirous is portrayed with dignity and youthful innocence by famous French singer, Eyma. She’s performed the role since being in her mid-teens (which she still resembles) and still brings her glorious characterization and heavenly vocals to the U.S. premiere.

 Hailing from Montreal, Jeremie Roy, as the young girl’s loving father, Francois, joins the cast of BERNADETTE, THE MUSICAL in Chicago. Jeremie brings a powerful voice and a truly honest portrayal of a struggling parent and a poor miller. He’s absolutely terrific in the role of a man simply trying to put food on the table and protect his family. Mr. Roy has also been seen in HAIR and PUB ROYAL. And New York-based actor/singer Jessie MacBeth is excellent in the bold and challenging role of Louise Soubirous, Bernadette’s hardworking, put-upon mother. She’s been enjoyed in shows like CARRIE, JESUS CHRIST SUPERSTAR and ON THE TOWN.

Handsome Steven Martella, another talented New York-based actor/singer, is forceful and frightening as Commissioner Jacomet. His scenes with Bernadette are almost brutal as he tries to break the girl’s spirit and make her confess that she’s lying. Mr. Martella has been seen in national tours of BEAUTY AND THE BEAST, ELF and TITANIC. Equally handsome and talented, Thomas James plays Father Peyramale, the priest of Bernadette’s parish. Mr. James displays a powerful presence and beautiful voice. The striking actor brings with him an impressive resume of roles, ranging from Caiaphas, in JESUS CHRIST SUPERSTAR, to the voice of Audrey II, in LITTLE SHOP OF HORRORS.

Other actors from the show’s 20-member ensemble stand out. Matt Webb is humorous in the role of the Court Clerk. Ludovic Jean is excellent as Prosecutor Dutour. Carol Beaudry demonstrates his versatility playing both Dr. Dozous and Monseigneur Laurence. Both Lucia Graves and Ange-Elie Menard are delightful as Bernadette’s young relatives, and lovely Klara Martel-Laroche, as Madame Pailhasson, is graceful and stylish. And when Klara raises her beautiful voice to lead the ensemble in “Ave Maria,” theatergoers will probably weep.

BERNADETTE, THE MUSICAL is a story of conscience over fear and faith over conformity. In addition to it taking place in 19th century France, the musical may remind faithful theatergoers of LES MISERABLES. The production also features a powerful, dramatic musical score, although many of the lyrics tend to be repetitive and banal. The technical artistry of this show easily matches the glorious vocal talent of the entire cast, with several of the performances, particularly by the leading actors, standing out. 

While there are much more entertaining musicals, with better stories and tuneful scores, BERNADETTE, THE MUSICAL is a spiritual experience, regardless of one’s religious beliefs. Long after the theatergoer leaves this moving musical drama, the warm, radiant smile and commanding professional performance of lovely, petite Eyma will stay with them for a long time. And this is the pure power of the Lady of Lourdes.         

Highly Recommended

Reviewed by Colin Douglas

Presented February 12-March 15 by Light on Stage Studios and the Athenaeum Center Theatre, 2936 N. Southport, Chicago.

Tickets are available at the box office, by calling 312-820-6250 or by going to www.infor@athenaeumcenter.org 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.