The Grand Théâtre de Québec has perhaps found the answer to a question that has occupied cultural institutions for a long time: how to renew its audience? Under the leadership of a new programming director, this cultural mecca is opening up to new styles and new audiences without compromising on its reputation. Focus on a democratization which is breathing new youth into this artistic mecca at the dawn of its fifties.
Music lovers and theater fans have come to commune since 1971 at the Grand Théâtre, a true temple of artistic excellence where the Capital Symphony Orchestra, the Quebec Opera and the Trident troupe have made their nest. The place inspires a certain reverence, accentuated by the austerity of its concrete walls and its brutalist architecture.
For a year, new devotees have been frequenting the building, attracted by the varied range of shows that the new programming director, Christian Noël, has fun concocting with his accomplice Jean-Claude Anto.
On weekends, children now take their parents out thanks to a first series intended for families. Last spring, the LGBTQ+ community had its Queer show, presented for two sold-out evenings. In December, it is the fans of “trad punk” who will benefit from the jig trash by Carotté, troubadours from Neuville who promise an extraordinary holiday evening, halfway between La Bolduc and the Sex Pistols.
“For me, it is very important that everyone feels at home at the Grand Théâtre,” emphasizes Christian Noël. That’s what public service is: it doesn’t matter if you come to see Mona de Grenoble or Alexandra Stréliski, it belongs to you, here. »
In the eyes of the new programmer, a week where the horticulturist-comedian Marthe Laverdière and the pianist-in-a-bathrobe Chilly Gonzales tread the same boards, “it’s the best”.
“There’s something for everyone,” he explains. Culture-loving music lovers as much as everyone else. » The meeting of these contrasting audiences, strangers in their artistic affinities, but united under the roof of the Grand Théâtre, embodies the culmination of the duo’s approach to programming.
“In the evening, in the entrance hall, the OSQ audience rubs shoulders with that of a show humor emerges while another goes to see a song show. This is part of my pay, confides Christian Noël: making possible a mix of clienteles in a place where we might think that there is none. »
Driving a Cadillac
Arriving in office at the beginning of September 2022, the current director of programming inherited a house in order. His predecessor, Michel Côté, had held the helm for 34 years before him, raising — and now — the Grand Théâtre to the rank of great cultural institutions. Christian Noël has since worked hard to attract new audiences, often younger, without this cultural center losing its soul, nor the north.
“Taking over from Michel, a guy that the entire artistic community loves, it was perhaps a little insecure,” says Christian Noël. I said to myself: how to renew from the inside? What best sums up my approach is innovation while respecting the mission. »
Since he has held the rudder, the ship has been going at full speed, with all sails set. The number of shows jumped by half in one year, from 100 to 150 — not counting the approximately 150 or 200 additional performances offered by the Trident, the Opera and the OSQ.
Christian Noël displayed the same hyperactivity in his former life. When he arrived at the head of Montmagny Performing Arts in the early 2000s, the shows presented by the organization could be counted on the fingers of one hand, sometimes both in the boom years. When he left 22 years later, the program, in this town of 12,000 people, numbered 125.
Studio Telus, a small, intimate room that can finally show what it’s made of after two years of pandemic hazards, contributes to the renewal of the Grand Théâtre. With its 200 well-appointed seats, it is here, in this pit adjacent to a bar, that shows from “left field” find their setting.
“The studio allows us to bring an emerging scene that would not otherwise have had access to the Grand Théâtre,” explains Christian Noël. In the eyes of the latter, the Montcalm district institution acts as a Cadillac as its technical and promotional capabilities remain unrivaled west of Place des Arts. We might as well get as many people on board as possible to help the culture go far.
“I’m not Mao either!” »
It is with this philosophy that Christian Noël has been increasing his collaborations over the past year. First by forging closer ties with the three residents, the OSQ, the Opera and the Trident, to allow them to dream bigger. “They are not just tenants, they are important creators for Quebec and Quebec,” he believes. We sat down together, we sat together, and I said, “I want once a year we work together on a project that you wouldn’t have done without us.” »
The capital’s festivals also benefit from the hand extended by the Grand Théâtre. The Jazz Festival can now present piano virtuosos under the frescoes of painter Jordi Bonet. The Kwe festival! has also taken over the stage of the institution since this year. “It seems pompous to say that, but I see it as a way of bringing people together,” explains Christian Noël. When half the audience of a show de Maten is of Wendat or Innu origin, that’s no small thing: they didn’t come to the Grand Théâtre before! »
ADISQ recognizes the approach of the institution, which was nominated for the Félix for broadcaster of the year and, twice, for the award for performance hall of the year, out of the five venues in the running.
“Our mission is to make culture beat harder in Quebec,” recalls Christian Noël. I want us to continue to do that, but I also want people to feel like they don’t have to wear the suit and tie to come here. Basically, it’s the people’s house, the Grand Théâtre! »
The programming director immediately clarifies: “I’m not Mao either! I’m not shouting “To the fields, the intellectuals”! »
Nevertheless: even if it does not claim to be the Grand Helmsman, a small cultural revolution is underway at the Grand Théâtre.