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Published on February 18, 2021 by Frédéric Brebant

World-renowned scenographer, the Belgian Luc Petit is hit hard by the health crisis. But the showman keeps hope alive and fights for a gradual resumption of his activities. The coronavirus temporarily shattered his childhood dreams, but he hasn’t given up. He observes, digests the pandemic, and slowly prepares for better days ahead. Because the show is his whole life. At six years old, Luc Petit set out to organize breathtaking shows. And since then, he has never wavered in his promise to amaze people.

Recognized internationally, the Belgian scenographer has excelled in the creation of large urban or heritage operas – “Décrocher la Lune,” “Les Nocturnales,” “Les Féeries de Belœil,” etc. – as well as in large-scale productions in enclosed spaces like “Peter Pan” performed in several countries or “Eight Immortals” specially designed for a new theater in China. Inaugurated in spring 2019, this permanent show – with a budget of 18 million – was scheduled for 10 years, but here too, the coronavirus came to disrupt the plans. The Chinese performances were suspended, as were Luc Petit’s projects in Belgium, including the renowned “Noël des cathédrales” sacrificed this winter.

“I am 58 years old, I am not destitute and I can consider not paying myself for a certain time,” says the scenographer. “But around me, I have more than 2,000 people who usually work on my shows. And now, everything has come to a halt. Paradoxically, I have never fought so hard to make things happen and contribute to restarting the sector. We support each other, we communicate more than before with theater directors, and we call on the political world hoping that things will finally move forward.”

Gradual Restart

Regarding the resumption of his activities, Luc Petit remains worried and pessimistic. The director does not foresee a return to normalcy before 2022, or even 2023 for the very large events supposed to attract crowds. He imagines this resumption to be gradual, similar to what he was able to implement last summer, between the two lockdowns, with his “Tournai d’été” show designed for 200 people in compliance with health regulations.

It is in this window of creative opportunity that Luc Petit envisions his slow return to professional life today. He hopes that, this summer, political authorities will agree to the organization of outdoor events for 400 people, in order to replicate his “Tournai d’été” experience in other cities like Mons, Binche, Arlon, and Bastogne. To him, this would be a way to restart the pump of this enchantment that he misses so much today.

“It is true that, morally, it is quite complicated,” concludes Luc Petit. “Today, the artistic world feels abandoned, and the entire sector is tired of this lack of perspective for resumption. This, of course, affects our drive for creation, but we must nevertheless remain committed to continuing to develop projects. To endure and, above all, to continue to make dreams come true.”