Unavoidable “Freedom” convoy and its spa, inflation, provincial elections, passport crisis, papal visit… 2022 will have done its best to provide material for Reviewed and corrected. As is now the tradition, the Théâtre du Rideau Vert’s end-of-year show offers a festive cocktail overall that strings together the sketches, funny or less, with an energy and a spirit that are, however, irresistible.
The 2022 edition has three newcomers, who fit seamlessly into the cast. The “rookie” Pierre Brassard was quick to shine on stage, notably in Gilles Vigneault visiting Spotify to protest against misinformation. Monika Pilon – hilarious in Céline, whose tics she seizes – and Marie-Ève Sansfaçon, who multiplies vocal prowess in her incarnations as singers, also show great confidence. As for the two veterans of the retrospective, their virtuosity is particularly highlighted in a scene parodying Paul Arcand’s telephone line. This framework provides a pretext for an impressive parade of brief personifications by Benoit Paquette (palm to his hilarious Christian Bégin) and by the chameleonesque, confusing Marc St-Martin, of which it would be necessary to name almost all the characters.
Eclectic panorama
And as often in Reviewed and corrected, the quality of the performances compensates for certain less successful texts, or in need of surprises. Among the failures, I include the one on the reception of Ukrainian refugees (a video capsule of President Zelensky hits the mark more). And, unfortunately, the sketch concerning the scandal at Hockey Canada, which lacks teeth and from which we see the gag coming. It is in certain particularly successful video segments that we discover the most incisive points, such as this recurring satire of a CAQ election advertisement and the creaking one on the Horne foundry.
The show offers a decidedly eclectic panorama, with a rather well shot slam in homage to Guy Lafleur, and some catchy and well-executed musical numbers. Thus, in a good flashthis pastiche of the musical Anne which illustrates the hiring of very young employees in businesses short of manpower…
Rich in television parodies (including a step taken from the verses of STAT), the retrospective seems thinner on the political side – despite strong appearances by the Prime Ministers of Quebec and Canada. We thus note the virtual absence of the race among the curators of Pierre Poilievre. Other politicians, like Éric Duhaime, are approached obliquely, only quoted in songs. Let’s admit, however, that the tasty number where Ginette Reno vocalizes on the long name of the leader of the Parti Québécois is worth the detour. On the other hand, presenting Dominique Anglade’s dance broadcast on TikTok may be fun, but it seems to me that with the collapse of the Liberal Party of Quebec, we have wasted a subject with great potential for ridicule… And there, we can’t prevent wondering if a more diverse cast might have given writers more options.