An Interview with Caroline Loeb: Capturing the Essence of Françoise Sagan and Her Artistic World

I had the pleasure of interviewing Caroline Loeb, a multi-talented artist renowned for her captivating performances. Her portrayal of Françoise Sagan in Françoise by Sagan has garnered widespread acclaim for its emotional depth and authenticity. Caroline's journey is a testament to her ability to channel Sagan's spirit, blending humor and poignant reflection in her work. In our conversation, we explored her artistic evolution, the nuances of performing for diverse audiences, and her passion for celebrating strong feminine figures through various mediums.

Exciting news for fans: Caroline Loeb is making her return to the United States this spring for a series of special performances, including a highly anticipated stop in Las Vegas. Stay tuned for more updates on her upcoming shows and experience the wit, wisdom, and artistry of Caroline Loeb firsthand!

Caroline Loeb. Photo Credit: Richard Schroeder

Dear Caroline Loeb, your portrayal of Françoise Sagan in Françoise by Sagan by the talented Alex Lutz has been widely praised for its emotional depth and authenticity. What drew you to Sagan’s words, and how do you prepare to channel her unique spirit on stage?

I had often seen Françoise Sagan in the media in the '80s and knew a little of her witty and unique personality. A friend gave me the book of her interviews, and the gap between this apparently frivolous character and the depth of her reflections was a shock. I discovered a philosopher. Every sentence struck me as incredibly deep, intelligent, and sensitive, and I immediately had a vision for the play. I knew it was for me. Once I had worked on the adaptation and Alex Lutz had accepted to direct it, the most important thing for me was to find the deepest connection to the reasons that made me choose each line. It had to be intimately sincere to move the audience, whether they had read Sagan’s books or not.

You've performed Françoise by Sagan over 500 times, both in French and English. How do you adapt the performance for different cultural audiences, and what nuances emerge when performing in English versus French?

When I adapted the text from French to English, I obviously had to make some changes. Some questions made no sense for an American audience. Thus, I chose some interviews in which she talked about Brigitte Bardot, Billie Holiday, or Saint-Tropez. In the English adaptation, I retained some words in French so that the audience wouldn’t forget she and I are French.

C’est la ouate became an international hit in the 1980s and remains iconic. How do you feel about the song’s enduring legacy, and how does your experience as a musician influence your theatrical performances today?

This song has had an incredible career, and it is truly fascinating to see that it still plays on the radio and in clubs, and that the public still loves it! It has a life of its own, and when I am on stage or working as a director, it has little to do with my new material.

Les Caroline, your new musical show, is known for its wit and humor. Why did you want to do a musical show after your play on Sagan?

I have loved cabaret for a long time and already did a cabaret show a few years ago, Mistinguett, Madonna et moi. In cabaret, there is a freedom that I love, and the connection with the audience is strong and direct. It is always a lot of fun to interact with the audience, and I enjoy it immensely. Every show is different depending on who is in the theatre. With humor and wit, I can talk about deep subjects like aging.

Les Caroline. Photo Credit: Matthieu Camille Colin

You’ve had such a multifaceted career, spanning music, theater, fashion, and literature. How do you decide which medium best expresses your creative ideas, and do you see yourself experimenting with new forms of expression in the future?

For me, being an artist has always been my priority, and each form of expression allows me to showcase different aspects of my passion and personality. When I write, I can be quite melancholic, and then I have a lot of fun on stage doing cabaret. But whatever I do, there is always melancholy in the humorous aspects and humor in the darker ones. I like to think we are multiple and find it important to express that idea in creation. Every medium is complementary to the other. When asked which medium I prefer, I always respond: all of them!

Your performances often feature portrayals of legendary women like Mistinguett, Madonna, George Sand, and of course Françoise Sagan. What attracts you to these figures, and how do their stories resonate with you personally?

I have always been very drawn to strong female personalities, women who pioneered new ways of being a woman in a man’s world. Each of them embodies a strong idea of freedom and inspires me deeply. There are so many women who have and still inspire me: Dorothy Parker, Marlene Dietrich, Josephine Baker, and Mae West. Each of them is a role model.

Caroline Loeb. Photo Credit: Matthieu Camille Colin

You have traveled extensively with your performances. What have been some of your most memorable experiences performing abroad, and how do different cultural audiences react to your work?

I have been lucky to play in countries and cities like Morocco, Israel, Tahiti, Singapore, and Hong Kong, but the audiences have primarily been French. The most powerful and emotional experience was performing Sagan in English at the Alliance Française in New York. I was brought up in New York during my childhood, and it was a dream come true to return to my hometown as an actress.

With your deep connection to both Paris and New York, how do these cities inspire your work? Do you feel that each city brings out different facets of your creativity?

My American childhood has profoundly shaped me, and in many ways, I feel American. The idea of being a renaissance person is very American. French people don’t have that relationship to creativity. But my work is the same everywhere.