Quiet return to normal on the boards of Quebec

In this cultural re-entry where the scents of a certain return to normality seek to emerge here and there, the theaters of Quebec are forging ahead with a rich program, eager to reconnect with a theatrical offer faithful to its habits.

If the offer is provided, the presence of several shows from Montreal or in revival is nevertheless remarkable. The best of worlds, the inescapable dystopia of Aldous Huxley rewritten here by Guillaume Corbeil, thus opens the season of the Trident, while All inclusive, also created two years ago, opens to the Periscope: in the vein of the companies Porte Parole and Nous sommes ici, this documentary-inspired work by Francois Grisé discusses the realities of retirement homes and our relationship to aging.

And while La Bordée opens its stage to a few guest productions, such as King Dave and The girls and the boys, two solos that will be added to its regular programming, we will also find again the ardor of Foreman who, on a text by Charles Fournier exploring the constructions of the male gender, and after a success in 2019 in the Marc-Doré studio of Périscope, receives here a main room in due form.

Through these returns and revivals, the season still gives a place to several creations. This will be the case for Newsroom – Network, adaptation of the disturbing satire Network – Hand on the tv, which, in a staging of Marie-Josée Bastien at the Trident, take advantage of the existential breakdown of an old antenna manager to question our relationship to the screen.

Marie Stuart will return to the imagined meeting between the Queen of Scots and her cousin Elizabeth Ire, Queen of England, who ordered his captivity. Les Écornifleuses, on the plates of the Periscope, will present here their own version of this face-to-face imagined by the Italian author Dacia Maraini.

La Bordée will offer Scenarios for exiting the crisis, a text byErika Soucy who, as had done The murals, but this time digging on the maternal side, will explore the themes of poverty and success as well as the family ties dear to the author. It will be, however, after the opening of the season, in a new staging of the Polygraphe. After a creation in 1987 then the film adaptation of 1996, the text of Marie Brassard and Robert Lepage will be repeated here for the first time for the stage, under the creative guidance of Martin Genest.

Creation on the menu

This organization, obviously, will leave a lot of new blood to Premier Acte, which takes the lion’s share on the creation side, of which it is above all the mandate.

The theme of food is essential here from the outset: with the Pineapple overturned from Catherine Cote, first of all, which uses it above all as a pretext to bring together women from the same family around the culinary tradition and the passage between generations; with the Food Club from Samantha Clavet, then, which for its part places the food directly on the dock: beyond the media craze, the play probes our relationship to food, sometimes pushed to the point of obsession.

Meet_Inc., whose title is a nod less to the meat itself than to a job market transforming the worker into cattle, will look at another type of obsession.

Meeting of employees of a large company with the jesters of the collectif Hommeries !, the show will rather question, against a background of competition, networking and consumption, the desire for success and ambition.

The decor will be quite different with Fond de rang : on a text by the actor Vincent Nolin-Bouchard, at the antipodes of consumerist and mechanical urbanity, the piece will propose an interrogation on identity and origins, with as a common thread the return of a young man to his native region of Lac-Saint-Jean.

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