Let’s say it right away: it’s a successful reunion, after three years of absence, in front of an audience clearly conquered in advance. Perfectly tuned, energetic, colorful, the production of Just for Laughs impresses with the sum of the know-how deployed, from the imposing cast of all ages, very vocal and with harmonious choirs, to choreographies inspired by Wynn Holmes — see in particular this agile ballet of servants.
Originally based on a comic book, the “family” musical Anne seems — in the eyes of this adult — to be based on a very thin plot, which is reminiscent of certain elements ofoliver, but more candy pink. A fairy tale where a child abandoned in an orphanage by parents she still hopes to see again is invited to spend the holidays at a self made man billionaire (David Savard, full of ease), whom she will humanize.
faith in the future
Created in 1977 on Broadway, in a country demoralized by Watergate and the Vietnam War, the play nevertheless describes an America of extremes during the depression of the 1930s. Anne takes us from the slums (including a homeless camp) to the opulent home of a man who rubs shoulders with the greats of this world. But misery here takes on the colors of comic strips. This popular musical puts forward a fantasy, where the indestructible optimism of a little orphan ends up contaminating the cabinet of the President of the United States, the inventor of the New Deal, a Roosevelt here of an astonishing good nature (Joseph Bellerose )! Anne, it is therefore the imposition of a faith in the future on a depressed era. And that may indeed be what pandemic Quebec needed…
Introduced by a credits like silent films, and reserving an active, inventive role for its pianist (Lorenzo Somma), the show directed by Serge Denoncourt paints a very colorful picture of this period. An era in which the costumes of Pierre-Guy Lapointe and the many New York sets signed Guillaume Lord transport us beautifully – a back and forth smoothly conducted on stage. Denoncourt also gave a Québécois flavor to the dialogues, which adds a note of earthiness to the humor.
In the title role, the young Kayla Tucker proves that the director had a lucky hand: she has confidence and vocal qualities to spare. As the wicked director of an orphanage – a highly profitable role – Geneviève Alarie steals the show, as she has so many dogs. Émily Bégin and Kevin Houle have fun as shoddy criminals. It is impossible to name the twenty or so performers, but we must highlight its crisp young cast, which forms an essential part of the charm ofAnne.