Inheriting a renovated building with a second auditorium and a “modern” program, the next co-general and artistic director of the Théâtre du Nouveau Monde (TNM) believes he has all the tools in hand to win over new audiences and ensure the survival of the theater, its main mission for the years to come.
“We have to attract new audiences, especially younger ones. We have no choice if we want to survive and continue to fill an 850-seat venue every night,” Geoffrey Gaquère acknowledged in an interview a few weeks before he officially took office.
The TNM’s finances are not doing badly, he assures us, but “public funding is low.” Supported to the tune of 25% by government subsidies, the theatre must generate 75% of its revenues independently, with ticket sales and sponsorships. A difficult mission at a time when the effects of the pandemic are still being felt and the economic situation is pushing many Quebecers to cut their cultural budgets.
Far from being discouraged, Geoffrey Gaquère is brimming with ideas to fulfill this mandate. It must be said that he arrives at the head of the Montreal institution with quite a track record. Originally from Belgium, he worked for 24 years in the Quebec theatre community as an actor and director. He held the position of artistic director and co-general director of the Espace Libre theatre from 2014 to 2022 before becoming director of the Conservatoire d’art dramatique de Montréal in January 2023.
Works “in tune with the times”
In his eyes, programming plays an essential role in bringing the public back to the theater. But no major change in sight: Geoffrey Gaquère mainly wants to continue the changes implemented by the TNM recently. “There has really been exemplary work to open up to diversity, to plurality. […] The next season of the TNM is in the air,” he emphasizes, giving the example of book adaptations The woman who runs away by Anaïs Barbeau-Lavalette or Kukum by Michel Jean.
The key is to present works that have an innovative side and that address subjects that touch people, he insists. “What is the human being? What is life in society? What is the meaning of existence?” are major themes that he wants to put forward. “I want to propose creations by artists from different generations, from different origins,” he continues without going into details, claiming that it is still too early to reveal everything.
One thing is certain: it will make more room for the next generation. This was also the intention of former director Lorraine Pintal and her team when they created the new Réjean-Ducharme room. Inaugurated in the fall, it will accommodate artists in creative residency and offer master classes.
“In Quebec, we give few opportunities to this next generation to tackle significant works in the history of theatre. I would also like to change that, I would really like these young people to be able to tackle them in the future,” he adds.
Adapting to audiences
Beyond programming, it is by listening to the needs of spectators that theatres will succeed in attracting them to the halls. Since the pandemic, the cultural habits of Quebecers have changed, as has the organization of daily life. “We will have to open our minds and perhaps imagine new performance schedules,” says Mr. Gaquère. “It will be a matter of trial and error, but we have to try.”
He acknowledges that the price of tickets can also put some people off. “There is ongoing work to be done on accessibility,” he acknowledges, assuring that he wants to continue the efforts already started in this direction.
Democratizing theater also involves work on support and cultural mediation. “We need to develop new channels to reach a wider audience,” he maintains. “Why not go to schools.”
He also wants to increase the number of parallel activities to enhance the spectator experience, such as post-show discussions with the creators.
Responsibility
These questions of financing, renewal of the public and accessibility, the TNM is obviously not the only one to ask them. “The crisis affects the entire sector. […] We will have to be united and work together to promote the value of art in a healthy society,” argues Mr. Gaquère.
Well aware that he is coming to the head of a “flagship institution” whose reputation is well established, he intends to take advantage of this distinct status to speak publicly and defend the interests of the community. “This new position is a great privilege, but I am aware of the responsibility that comes with it. I intend to assume it as best I can,” he concludes.