Review of Never, Always, Sometimes | The world is stone

Translated by Maryse Warda, Never, always, sometimes (The Almighty Sometimes) is a text which has won numerous awards since its creation in 2015, by the young Australian playwright Kendall Feaver. The piece is presented as a Canadian premiere at the Rideau Vert. And we don’t come out unscathed.

Never, always, sometimes addresses themes of identity disorder, bipolarity and children’s mental health, which she juxtaposes with questions of creativity, the power of the imagination and individual freedom.

Anna, an 18-year-old woman, lives alone with her mother since her father’s death. She has a rich imagination, and she wants to become a writer. However, she has to deal with a mental illness that has torn her apart since childhood. Under medication since the age of 11, she decided to stop taking her medication. A decision that will destabilize her mother, her new boyfriend and her psychologist who has been following her for almost 10 years…


Simon Landry-Désy and Lauren Hartley

All the characters have their reasons in Never, always, sometimes. The author doesn’t judge anyone. Rather, his piece shows us the multiple points of view and nuances of a problem that goes beyond all of us.

“What would have happened to a very precocious little girl if she had not received a diagnosis that forced her to take medication? », says the author. By juxtaposing the suffering and the responsibility of the sick towards those around them, his piece asks the question of where the illness begins and where the identity of the vulnerable person ends. She also questions overmedication and the limits of medical diagnosis. Moreover, the disease is never specifically named in the story.

By deciding to stop taking her medication which is knocking her out, out of a need for autonomy, Anna plunges back into the painful fight against her illness. His choice strongly shakes those around him on a daily basis. It’s difficult to have peace of mind in this area where we are constantly immersed in gray areas. Everyone will question their role: as a parent, as a lover, as a doctor…

Four virtuosos


Lauren Hartley and Marie-Laurence Moreau

Director Brigitte Poupart skillfully directs a quartet of virtuosos: Lauren Hartley, Annick Bergeron, Simon Landry-Désy and Marie-Laurence Moreau. In the very demanding role of Anna, Hartley is overwhelming, astonishing! Annick Bergeron plays her role as a “caregiver” mother. A woman who is both controlling and loving, but at the end of her rope. The young Landry-Désy offers a fine and sensitive composition in the role of Olivier, Anna’s timid friend. Finally, Marie-Laurence Moreau aptly embodies the rigid, but empathetic psychologist.


Annick Bergeron and Lauren Hartley

Our only downside: the imposing realistic scenography which transports us heavily from the kitchen to the hospital room, to the psychologist’s office, etc. Le Rideau Vert remains one of the rare theater companies in Quebec to offer this type of decor, rotating and very bulky, in its productions. As we saw… in the 1980s. It’s ugly, useless and expensive.

Consult the part page

Never, always, sometimes

Never, always, sometimes

By Kendall Feaver. Directed by Brigitte Poupart. 2:15 a.m. (without intermission)

At the Green CurtainUntil April 13



Leave a Comment