Photo: Bruno Guérin
The misadventures of this gallery of characters detestable and yet endearing characters allow the author to address topics as diverse as the role of art, the impact of pornography, the relation to history, the quest for performance and thirst for transmission.
While Baby-sitter, dreadfully directed by Philippe Lambert, has just completed its tour across Quebec, the time has come to create a new piece of Catherine Léger, an honor that goes to Patrice Dubois, artistic director of Théâtre PÀP.
Don’t go by four paths : the Girls in the freedom is not as hilarious as Baby-sitter, not as scathing, but it is no less relevant, no less fair in its observation of an era, if disorder it does not seem to offer another solution that despair absolute, or the jovialisme boosters. The new piece deals with themes similar to the one that preceded it, starting with the redefinition of sex roles, but it is committed more openly on the territory of the identity, including national, referring to the “beasts of the hope” of Gaston Miron in a punchy mixture of pride and derision.
In the apartment of urban and non-furnished Hodge (Catherine St-Laurent), a young woman who aspires to settle in the suburbs to become a stay at home mother, regularly meet Nick (Étienne Pilon), his companion, who teaches cinema at the cégep, Cynthia (Laetitia Isambert), her best friend, law student, and Pascal (Christian E. Roy), the best friend of Nick, who teaches the history of art, also in college. Sometimes, Hodge and Cynthia are going to take a drink with Chris (Clara Prévost-Dubé), their childhood friend, formerly a dental hygienist and now webmaster. Around all this beautiful world, composed of vingtenaires and thirty-somethings, lurking Alain (Hugues Frenette), the concierge, barely midlife crisis.
The misadventures of this gallery of characters detestable and yet endearing, defended with great conviction and shades, allow the author to address topics as diverse as the role of art, the impact of pornography, the relation to history, the quest for performance and thirst for transmission. From this suite of short scenes, dialogues, colorful and sharp, Patrice Dubois gives a representation strangely wise. Apart from a very beautiful picture in slow motion, the scene setting is rather realistic. Except at the end, where we get out the heavy artillery : costumes, painted canvas and set square that take us back to the beginnings of the colony.
With his incredible sense of comedy, his art of the replica that slap, but mainly its a perfect mix of buffoonery and seriousness, détonnante juxtaposition of issues, intimate and collective, but above all political and feminist, Catherine Léger is in the process of giving birth to a genre as funny as intelligent, a kind of social comedy that you dream to see to invade theaters and comedy festivals.
Text : Catherine Léger. Directed by : Patrice Dubois. A production of Théâtre PÀP. The Unicorn until 2 December.