Marseille's Grenfell moment has left an indelible mark on the city, with a devastating collapse of two dilapidated houses in November 2018 that claimed eight lives and sent shockwaves through France. Playwright and director Mathilde Aurier's powerful new play, "65 Rue d'Aubagne," is a testament to the resilience of its residents, who came together to demand justice and transformation.
Aurier's own connection to the tragedy runs deep – her grandfather still resides in the Noailles neighborhood just a few doors down from the fallen buildings. Yet it was a chance encounter on a Marseille beach with a woman whose story served as the catalyst for Aurier's work, that she began writing this play of catastrophe.
Set against the backdrop of France's second city, where social inequality and urban neglect have long been pressing concerns, "65 Rue d'Aubagne" weaves together multiple narratives to convey the full scope of the disaster. The play plunges into the immediate aftermath, the struggles for evacuation and aid, and grapples with the far-reaching consequences that followed.
At its heart, however, lies the story of Nina, a fictional resident whose experiences embody the collective trauma felt by those affected. A poignant exploration of survivor's guilt, love, loss, and resilience, the play shines a light on the power of human connection in the face of catastrophe.
Aurier's approach is deeply personal, drawing inspiration from the "theatre of catastrophe" of British playwright Howard Barker, who has long probed questions of power, violence, and patriarchy. For her, this theme resonates particularly with women's experiences – a thread that runs through much of her own work.
While no solution to Marseille's housing crisis seems within reach, Aurier remains undeterred in her pursuit of justice and accountability. As the city prepares for a new mayoral election, she laments that politics has shifted focus away from this pressing issue.
Ultimately, "65 Rue d'Aubagne" is a searing indictment of systemic neglect and bureaucratic failure – yet it also holds out hope as a testament to human solidarity in the face of adversity.
Aurier's own connection to the tragedy runs deep – her grandfather still resides in the Noailles neighborhood just a few doors down from the fallen buildings. Yet it was a chance encounter on a Marseille beach with a woman whose story served as the catalyst for Aurier's work, that she began writing this play of catastrophe.
Set against the backdrop of France's second city, where social inequality and urban neglect have long been pressing concerns, "65 Rue d'Aubagne" weaves together multiple narratives to convey the full scope of the disaster. The play plunges into the immediate aftermath, the struggles for evacuation and aid, and grapples with the far-reaching consequences that followed.
At its heart, however, lies the story of Nina, a fictional resident whose experiences embody the collective trauma felt by those affected. A poignant exploration of survivor's guilt, love, loss, and resilience, the play shines a light on the power of human connection in the face of catastrophe.
Aurier's approach is deeply personal, drawing inspiration from the "theatre of catastrophe" of British playwright Howard Barker, who has long probed questions of power, violence, and patriarchy. For her, this theme resonates particularly with women's experiences – a thread that runs through much of her own work.
While no solution to Marseille's housing crisis seems within reach, Aurier remains undeterred in her pursuit of justice and accountability. As the city prepares for a new mayoral election, she laments that politics has shifted focus away from this pressing issue.
Ultimately, "65 Rue d'Aubagne" is a searing indictment of systemic neglect and bureaucratic failure – yet it also holds out hope as a testament to human solidarity in the face of adversity.
. The fact that a play can be written about this tragedy is just mind-blowing... like, how do you even process something like that? 
I know I'd be writing a lot if I were Aurier too, 'cause it's clear she's not done fighting for justice yet... her passion and determination are super inspiring 
. The thing is, though, I don't think we can just move on from stuff like Grenfell - there needs to be change 
. I mean, I'm all for the power of human connection, but we gotta make sure our governments are listening too 
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. And for Nina's story to be at the center of the play, highlighting survivor's guilt and resilience, it's just so well done 
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. She's got some valid points about the housing crisis, but what's the point? Politicians just gonna keep on making empty promises and doing nothing 
. And the fact that she's drawing inspiration from this "theatre of catastrophe" guy... sounds super pretentious to me 
. I mean, is this play really just a way for her to vent about how messed up the world is? Because if it is, then yeah, go ahead and write your feelings out, see if anyone cares 
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and i love how she's drawing inspiration from other playwrights like howard baker - its clear she's doing her research and wants to make a real impact. and while we may not have all the answers yet, i think its so important that plays like "65 rue d'aubagne" are pushing us to think about what needs to change in our cities. lets keep hoping for justice and accountability 
i feel so bad for those ppl affected by that tragedy 
and i love how she wove this narrative that shows how ppl came together after the tragedy, it's like they're sayin "we got u" in a time when everyone was losin their minds 
. anywayz, if u haven't checked out the play yet, pls do, it's def worth ur time 
