Photo: Maxim Paré Fortin
The production offers formal variations, including the dubbing, live on film in 1974.
The Marcel Dubé follow and… look the same. The relationship between the part of 1965 the climb up to The Chapel and the Balance of TNM, presented a few weeks apart, hits. These two tables wistfully of the bourgeoisie was completed with a finding of solitude at the head of a family has money, that a woman confit of boredom shouts his dissatisfaction, while her offspring made the trial of its values and its authority exceeded.
Work bushy, Les beaux dimanches portrait vitriolique fauna of idle, which is treading water, and stuns, while ” the death continues to do its job.” Christian Lapointe takes to The Chapel and its management of eleven ex-students, the promotion 2018 of the national theatre School, since incorporated in the troop. Performers as young people to translate the disillusionment, jaded, lassitude terminal that weighs on the soul of these couples ? The effect evokes a bit of these kids putting on the clothes of their parents to play to be adults. The dimension creaking of this social criticism is unleashed.
Force is to admit that to mount the works of this pioneer of quebec theatre, it is now necessary to pester a form that betrays its age. Christian Lapointe’s book reading dépsychologisée, an offset of this text is verbose. It has décorseté the language — this French normative which Dubé was so –, here more familiar and direct.
On the plan stage, it gives the treatment Oxygen in the room, with microphones, sign language support that comes stress, or betray the thoughts of the characters, including blindness — an important theme in Dubé, as well as the background sex among those couples who flirt in order to exist. The show borrows the form of a game of improvisation, with the arbitrator (Jules Ronfard) on the side that denounces the sexism of ordinary — or the lies — of the male characters by activating an alarm of the penalty.
The first part of this long show, where everything seems to be at the same level — outraged —, ends a little tired. Fortunately, this production cleverly cut offers formal variations. The discussion about the boat tour — that shows the inability to act of the characters — is thus a dynamic formatting. And the surprising epilogue sees the performers double live the movie of 1974 to the aesthetic dated, supported, with an effect often funny. The final scenes, which emphasise, however, the despair of the young heroine, as impotent as his predecessors.
If the inexperience shows through in some, the distribution takes on the challenge of homogeneity of tone. And principal couple, Elizabeth Smith and Stephen Lou are a duo scathing. Patrice Ducharme-Castonguay door smoothly his piece of bravery on the independence of Quebec.
At a time when there are questions about the future of this dream, the piece signed by this witness of the québec society that was Marcel Dubé continues to reflect some of the darker side of our times : existential emptiness, obsession, distraction, abandonment of a collective project.
Les beaux dimanches
Text : Marcel Dubé. Director : Christian Lapointe. Co-production of the collective Quatorze18 and White Card. With Félix-Antoine Cantin, Claudia Chillis-Rivard, Étienne Courville, Nadine Desjardins, Patrice Ducharme-Castonguay, Stephen Lou, Virginie Morin-Laporte, Jules Ronfard, Gabriel-Antoine Roy, Rosemarie Sabor, Elizabeth Smith. At théâtre La Chapelle, until December 15.