Creative director Thomas Jolly aims to dazzle with Wednesday’s Paralympic Games opening ceremony, transforming Paris into a vibrant stage for artistic brilliance.
Set against the historic backdrop of the Champs-Elysees and Place de La Concorde – a site known for the French Revolution’s royal beheadings – the outdoor spectacle seeks to challenge and redefine societal views on disability.
“When we cut off the heads of the king and queen here, it changed society once. Maybe this ceremony will be the second time we change society,” said Jolly, who also directed the Paris Olympics opening ceremony last month.
On Monday, under the sweltering Parisian sun, 100 dancers, including 20 performers with disabilities, gathered at La Concorde for a final rehearsal, hidden behind large banners that enclosed the square.
The site, which hosted several Olympics competitions, has been transformed into a grand open arena centered around the ancient Luxor Obelisk, Paris’s oldest monument.
Jolly said dance will be central to the show, celebrating all types of bodies through the universal language of movement. Swedish director Alexander Ekman has crafted a rhythmic spectacle where dancers – using crutches, wheelchairs, or adapted tricycles – will interact with pulsating beats.
Victor Le Masne, who composed the score for the Paris Olympics, returns to create the music for the event.
On the eve of the Paralympic rehearsals, Le Masne welcomed journalists into a secluded Parisian studio, offering a sneak peek of the track titled “Sportography,” a blend of organic sports sounds and drum rhythms capturing the essence of athleticism, incorporating elements like the screeching of shoes and the hard breathing of athletes.
Reflecting on his recent collaborations with Celine Dion and Lady Gaga for the Olympic Opening Ceremony, Le Masne shared insights into the intense creative process.
He vividly described attending a private rehearsal atop the Eiffel Tower, where Dion performed “Hymn to Love” at 3:00 a.m., just hours before the ceremony.
Despite challenges like rain and Dion’s health issues, Le Masne was confident her performance would be grandiose.
He was equally impressed by Lady Gaga.
“I had to work on the ‘Mon Truc en Plumes’ arrangement and then flew to Los Angeles to pitch the idea to her management,” he said. “They loved it, and Gaga immediately immersed herself in learning about French cabaret culture, even perfecting the pronunciation of the old-timey French song. Her professionalism was awe-inspiring.”
For the Paralympics, Le Masne’s approach has evolved.
“This time, I wanted to put the athletes first,” he said, emphasizing the importance of incorporating the physical and emotional sounds of sport.
The ceremony will also feature athletes parading down a section of the Champs-Elysees, Paris’s most iconic avenue, with special efforts made to ensure accessibility. Traditional cobblestones have been temporarily covered with a thin layer of asphalt to accommodate wheelchair users. This layer will be removed after the Paralympic Games end on Sept. 8, said Thierry Reboul, who oversees all Olympic and Paralympic ceremonies.
Unlike the Olympic Opening Ceremony on the Seine, marked by stringent security and pouring rain, this event will allow the public to freely watch from along the Champs-Elysees and near the Louvre Museum.
The weather forecast promises bright sunshine and clear skies.
“But we’re still pretty cautious about that last part,” Reboul joked about the weather conditions.
