Dizzying Heights of Love: Bobo-Stars' Musical Whirlwind at the French Institute

On February 6 and 7, the French Institute of Cambodia will host the musical comedy Vertiges de l'Amour, an amateur show created by the Bobo-Stars, a band of merry men and women. Interview with Philippe Javelle, the musical director and pianist of the show.

The well-known Captain of the Kanika, Jean-Pierre Fréneau, is the initiator of the project. He surrounded himself with his karaoke companions, no less talented: Anne-Sophie Douet, Charlotte Monjou, Francine Landais, Lisa Duong, Emmanuel Dollfus, and Rémi Fasol. He then called on Philippe Javelle to put his ideas to music.​

The troupe unanimously decided to shift into high gear! Weekly karaoke sessions? Too easy! Time for a real stage, in good spirits but not just anyhow—a demanding challenge, but their desire to embark on this adventure overcame stage fright, recounts Phil.​

The script is a total creation.

Writing was the very first challenge. The craft of an author is not within everyone's reach. It takes know-how to invent a sensible story, comic talent to make it funny, and lots of ideas so the audience doesn't get bored for a second. They did very well; the libretto is coherent and punchy, emphasizes Phil.​

What to say about the plot? Two lovers are about to get married. Everything seems to be going well in the best of all possible worlds, but suddenly, disaster strikes. He stumbles by chance on a mysterious letter written for Her by Who-Knows-Who. And everything goes off the rails for this couple and their loved ones, with great twists, turns, and revealed secrets—classic vaudeville ingredients, but refreshed by this song-based revisit.​

This is far from enhanced karaoke; it's like the big shows that made French musicals famous in the 2000s. Here, no backing track. Our budding singers can only rely on Philippe Javelle's piano skills, who confides:

"I was surprised by their level, their ability to sing with accompaniment very different from the original song versions. For amateurs, they manage really well, and their natural work discipline greatly facilitated the show's realization. The cherry on top: it was peppered with lots of laughter!"​

French variety is in the spotlight. The main idea is for the audience to want to sing along with the troupe, clap their hands, and why not dance—even if the French Institute of Cambodia's theater offers a somewhat restricted space. Never mind the place, as long as we have rapture! These song lovers have a contagious passion, and no doubt the spectators will enjoy it.

How do these amateur artists manage to master interpretation and the stress of first steps on stage? Singing is already a special talent, but acting in public is a test that requires constant practice. But that doesn't scare the troupe; they take up the challenge with joy and motivation—their pleasure definitely wins out, rejoices Phil.​

Marie-Jeanne Maini, the unrivaled Mrs. Theater of Phnom Penh, handles the staging with her usual flair. Without forcing the artists to memorize overly tedious gestures and movements, she combines simplicity and efficiency. The troupe chains rehearsals at a sustained pace. Treellion Park and Acacia International Pre-School kindly provided venues, and the artists now display solid collective acting.​

Vertiges de l'amour is not just a small recreational folly; it's an event the troupe wanted to make charitable and community-oriented, with all proceeds going entirely to the A.M.U.R. association (Au Moins Un Repas).

This 1901 law association, declared of public interest, was founded by two Frenchmen of exceptional integrity and empathy: Éric Idier and Martial Lotard. And guess who is the godmother of this fine and humble organization? Julie Pietri. décidément, we know the song!​

The Bobo-Stars themselves contributed to the production budget so the project could come to fruition and proceeds could be maximized. The noble cause quickly attracted sponsors: AG Cambodia insurances, Kulen waters, Lyly Cream (yes, you can buy ice creams at intermission), and Kanika Boat—Jean-Pierre Fréneau, not only organizer but also emcee.​

Why choose the French Institute of Cambodia? Phil replies:

"What motivated the troupe was above all to take the stage in a theater-type setting, allowing proximity and interaction with the public. The IFC room seemed appropriate to me. Fanny Pagès, the director, liked the project well and made this space available to us under preferential conditions that allow us to do two performances. Seats are limited; I have good hope we'll play to a full house, and who knows, maybe we'll add extra performances later."​

The troupe seems fully ready to offer its share of tunes, laughs, and surprises to Phnom Penh's Francophone public—and not only; it's the ideal show to initiate into the French language or improve one's knowledge. The Bobo-Stars seem well on their way to a standing ovation... pardon, an ovation debout. When passion for the show becomes the engine of solidarity, it already deserves our applause.