Le Rideau Vert begins the fall with a children’s play in which young Alexandre Lagueux shines in the role of Chris, an intellectually handicapped 18-year-old boy. Abandoned by his mother and left to his own devices, he is rescued by the good souls of his building and his neighborhood.
Is Denise Filiatrault’s theater the best place to present this theatrical adaptation of the children’s novel by Jean-François Sénéchal? In any case, Frédéric Bélanger’s proposal seemed to destabilize the “adult” audience of the Rideau Vert, who nevertheless took a liking to Alexandre Lagueux.
The young actor is so invested in his character – who has a form of autism or intellectual disability, it’s not very clear – that the audience, including yours truly, wondered if Lagueux was not him – even suffering from any syndrome, he plays so accurately, skilfully avoiding the trap of caricature.
Result: we have a lot of empathy for his character, left to his own devices after being abandoned, first by his father, then by his mother.
PHOTO DAVID OSPINA, PROVIDED BY LE RIDEAU VERT
Alexandre Lagueux also plays Cédrik Tremblay-Maltais, who plays the role of a friend, and who is himself neuroatypical.
Especially since another young actor, Cédrik Tremblay-Maltais, himself neurodivergent, plays him in a secondary role. The line between reality and fiction then becomes a little blurred. We almost want to applaud after each of their lines to encourage them — and in fact, we applaud the inclusion of neuroatypical actors.
In terms of the game, Alexandre Lagueux is well surrounded. Whether it is Nathalie Mallette in the role of Madame Sylvester, who takes him under her wing; Sébastien Rajotte (benevolent Joe); Paméla Dumont (excellent in the roles of Chloé and Jessica); Claude Despins (father of Chris and Garry); Louise Cardinal (Tania and Aunt Henriette); or Félix-Antoine Duval (the naughty Luc Boutin).
Frédéric Bélanger’s direction is inventive and fluid, as usual. The large movable blocks used to create the different locations in the story are used in a clever way. Everything is fine on that side too.
And yet there is something that rings false about this Hallmark-like play, brimming with good feelings.
Because our Chris is still very lucky, we say to ourselves. For a disabled boy, abandoned by everyone, kindness is still everywhere around him – apart from one or two episodes which we pass over quite quickly. What luck all the same!
PHOTO DAVID OSPINA, PROVIDED BY LE RIDEAU VERT
Sébastien Rajotte plays the role of Joe, a handyman who introduces Chris’ character to manual work.
As the scenes progress, the story becomes more and more predictable, the few possible dramatic mechanisms are quickly defused. Is this a precaution that we took because we are addressing young people?
The dialogues are basic. No room here for interpretation or evocation, everything is said clearly, with no possible innuendo. This is not so much a flaw as a limitation. Is the text of the novel of the same caliber? We should compare the two writings, but it seems to me that young people – in the text as in the room – are capable of more nuances and depth.
That said, would an audience of young teenagers, at the Maison Théâtre for example, have welcomed Sénéchal and Bélanger’s proposal with the same reservations? We should show it to them and ask them the question. Their point of view might be different.
Visit the part’s website
The boulevard
Adaptation: Frédéric Bélanger and Jean-François Sénéchal. Director: Frédéric Bélanger.
With Alexandre Lagueux, Nathalie Mallette, Sébastien Rajotte, Paméla Dumont, etc.Au Rideau Vert until November 2