The creation of mom chez Jean-Duceppe has accents that are both new and familiar. This large fresco by Nathalie Doummar, inspired by her family of Egyptian descent, allows the fifty-year-old company to welcome for the first time a dozen actresses, of various origins, on its stage. An entirely feminine universe which, with its tightly woven smala, its alienation linked to Catholicism, nevertheless proves to be immediately recognizable in the culture of Michel Tremblay.
The author of Sisi deploys his gift as a portrait painter. Between trivial chatter and serious revelations, humor and drama (often in the same scene), she captures the tragicomic and sometimes absurd dimension of life, of human relationships. An art not so easy to master. But the piece, by dint of details and superimposed layers, draws a living painting, colorful and rich in individual characters.
mom exposes what a family carries simultaneously of wounds, antagonisms, judgments and solidarity, a stifling and consoling structure at the same time.
And in this meeting between three generations cohabit more traditional values and conversations of an astonishing frankness on sexuality. We see the younger girls trying to find their way, between heritage of the past, family pressure and aspirations to free themselves.
Maternity
Placed on stage under a large circular mirror, the dying patriarch (Igor Ovadis) whom the tribe watches over appears like a planet around which the characters gravitate. The magnificent scenography by Geneviève Lizotte elevates our vision of the action thanks to this image from above and also serves as a screen for videos by Chélanie Beaudin-Quintin.
There is also a cinematographic quality in Marie-Ève Milot’s staging, which orchestrates a dynamic overall picture, both cohesive and contrasting. Within this imposing distribution, although a little unequal, emerge strong temperaments. Such as the tasty compositions of Natalie Tannous or Mireille Tawfik, to name but a few. Or the “rebel” encamped by Doummar herself.
And even if it’s the grandfather we’re talking about, his violence that marked the family, mom lives up to its title. The question of motherhood, of the impact that this choice has on the lives of women, becomes an important issue in the story.
And Mireille Naggar imposes a very felt presence as a matriarch, a major figure although not very talkative, who serves as a sort of transgenerational binder. His poignant scene with his granddaughter, scene of a beautiful pictorial composition that largely goes without words, is one of the very highlights of the show.
Let’s add that, during an election campaign where some instrumentalize immigrants, this painting steeped in humanity of a New Quebec family seems to be timely…