Since 2017, the Théâtre à l’eaufroid has been passionate about contemporary dramaturgies. After Catalonia (Buffaloes, Archimedes’ principle And Brief interviews with exceptional women) and Argentina (The Coleman-Millaire-Fortin-Campbell), the company is taking us to Germany these days with Black Swans. Translated and adapted (to Quebec reality) by Laurie Léveillé, Christina Kettering’s play is directed by Daniel D’Amours and presented in the intimate room of the Prospero theater.
It begins with the complex relationship between two sisters. The eldest, played by Mélanie Pilon, is the dominant figure, always in control. The youngest, played by Kariane Héroux-Danis, is more fragile, always on the verge of breaking down. A few flashbacks to their childhood allow us to understand the shaky, but nonetheless fundamental, nature of what unites the two sisters. When their mother, losing her autonomy, moves in with the youngest, the latter sees her mental health waver. In order to make her sister’s daily life easier, the eldest, pragmatic, simply gives her a humanoid robot specially programmed to take care of their mother. Initially amazed by the prodigious efficiency of her new connected housekeeper, the youngest will soon become disillusioned.
By relying on a fairly conventional dramatic form, the conflictual relationship between two sisters, a face-to-face encounter into which the actresses nevertheless instill a lot of conviction, the play addresses current ethical questions in an admirably concrete manner. About the aging population, end-of-life care, medical assistance in dying and the rise of artificial intelligence, you will leave the room with questions to spare. It is a tête-à-tête with yourself, a meeting with your own conscience, but also a call to discuss these crucial subjects together. The greatest challenge posed to our species by artificial intelligence may well be to fundamentally redefine what humanity is. Christina Kettering’s piece frankly encourages us to this vast reflection.
The direction of Daniel D’Amours brings irresistible counterpoints to the family drama and social debate, breaks in tone which oxygenate the representation, judicious transitions which are supported by a rich sound design (Antoine Bédard). Skillfully taking advantage of a cramped space, notably by adopting a trifrontal configuration, Patrice Charbonneau-Brunelle (scenography), Claire Seyller (lighting) and Laura-Rose R. Grenier (video) offer the show a delightful and ingenious setting. To complete the fire, we can count on the disturbing choreographies imagined and largely executed by Charles Cardin-Bourbeau, who embodies, with mask, wig and silicone breastplate, an android all the more disturbing because he seems to come from an imminent future.