“On ne rate pas sa vie, on la recommence.” 

Twenty four years ago, a little boy’s life changed for the better. At eleven, he became one of the biggest movie stars of his generation, then a global sensation, adored by millions and known by everyone. Well, Numéro Deux (Second Best) doesn’t tell his story. No, instead, it shines a light on the one that almost had it all: Martin Hill, the boy that was almost the chosen one.

If you are a fan of Harry Potter, like me, this story surely tickles your curiosity. In fact, in my 27 years – 24 of being a fan of Harry Potter, I never even thought of the boy that was the runner-up at playing Harry Potter. Who is he, what is he up to, did he ever get over that rejection? Questions I never ask myself, until last night, when I walked into the Théâtre Tristan Bernard.

Well, we sure were about to find out.

A stage adaptation bursting at the seams 

The stage, although quite small, is busy and as you settle down, there are details and nods to the original saga hidden everywhere around the stage, if you have the eye for it: owls tucked in every corner, brooms leaning against desks, walls and couches, a ghost light that weirdly ressemble the elder wand and a hat that you could swear could talk if put on the right head.

Funnily enough, another stage adaptation of David Foenkinos’s book opened in the West End, at the same time and the two productions could not have been more different. If Numero Deux is full of life and bursting at the seams with elements, Second Best shines with its simplicity: a bright set that looks like an ultra-modern art installation. I still think I preferred the French take on the staging. What really struck me, is how lived-in the stage looked and when the old-TV starts flickering and the lights turn-off, it’s like you’re in your living room, excitedly watching the news about the new Harry Potter book being out!

And Sophie Accard made sure to make use of all the space available. Sneaking through all the furniture pieces, Martin’s movement almost reflects his inner conflict and the million thoughts running through his head as he recalls the events of his past and what it means for his future. If I had to pick one word to describe this production it would definitely be resourceful!

A peculiar family 

Resourceful also in the way the cast is interacting with all the elements and each other. Only four actors make up the cast of Numéro Deux and they are each brilliant in their own way.

Valentine Revel-Mouroz is a true chameleon on stage. Jeanne, Martin’s mother, Sophie, David Heyman’s assistant… She plays an array of characters, slipping in and out of each with an impressive ease. What I particularly loved about her various portrayals, is how soft she was. She never did too much or felt out of place, just the right amount of tenderness as the Mother with a pinch of funniness as David’s assistant. 

Pierre Bénézit is truly touching as John, Martin’s father. His character, as silly as he may seem, is actually one of the most believable ones. John is a dreamer trying to make ends meet and when tragedy hits, you truly feel sorry for him – and Martin. On the other hand, when he is playing lighter characters, like Hugo, Martin’s step-brother or Alexis, he easily gets a few laughs from the audience. Well done to Pierre for delivering a great performance as John! 

Serge Da Silva is deliciously funny, alternating between playing the hyper-focused David Heyman, to the unhinged doctor and TV host (that laugh was SO on point). Later in the play, he delivers a bone-shilling performance as Mark, Martin’s abusive step-dad. A duality that is very impressive and earned him a well-deserved round of applause! 

Haunted by the past and what could have been, Axel Auriant is splendid as Martin Hill. At such a young age, he leads the cast with ease and alternates between moments of sheer madness and absolute glee. It’s quite a task to command an audience but Auriant truly inhabits the role and, by breaking the fourth wall multiple times, creates a unique connection with them. Which is also the force of the show: the intimacy.

In the course of the show, we go from witnessing Martin’s parents falling in love, to his mother leaving, his father dying and his step-father being abusive. It’s an autobiography of some sort that is both emotional and poignant. I particularly loved how raw Axel’s interpretation and recollection of those moments felt. It felt true and not over the top. 

Resilience

Numéro Deux is a story full of twists and, as the show progresses, the comical elements of Martin’s life slowly give way to a much darker truth. There is a fine line between the play being a comedy and an honest introspection and Axel is never afraid to cross it. In one scene, he shouts in frustration, getting all worked up and red in the face. In the next, he is curled up on stage, surrounded by a dark cloud, while talking directly to the audience. When the play reaches the end, Martin is finally at peace and can finally exhale. And so do we.

In the end, Numéro Deux is a story about resilience and overcoming your fears. As he lets go of his past and learns to live with it, rather than avoiding it, it teaches the audience a beautiful lesson: the best is yet to come and “you don’t waste your life, you simply restart it”. 90 minutes that are like a breath of fresh air and a subject that eventually haunts you for a while after you walk out of the theatre. 

So, if you are curious to know what happened to the guy that almost made it, Numéro Deux is playing at the Theatre Tristan Bernard until May 2nd.

theatretristanbernard.fr/numero-deux/