One of the seven pieces written by Balzac – the unknown side of his work -, Mercadet or The maker would have known several versions since 1840, including one fixed by Jean Vilar. But it is a contemporary adaptation, signed by the Quebecer Gabrielle Chapdelaine, that the Denise-Pelletier Theater presents. At a time when inequalities are widening, it seems indeed very current, this big charge against financial capitalism and the greedy manipulators who take advantage of others to live in luxury.
A greedy speculator, Mercadet lost everything, including the neighbors’ money he had cheated. So he has to hide with his family to escape his creditors – while continuing to abuse his unpaid employees. Who can he fool to regain his golden way of life? The solution could come from a bitcoin monk (amusing Christophe Payeur), a suitor for their daughter. A rebel who prefers an honest accountant (just Maxime-Olivier Potvin). But Mercadet is not the only profiteer from this cynical, very transactional universe…
Gabrielle Chapdelaine has very effectively adapted the plot to our time with many references (thus this debate on cryptocurrency) and some good repartee. Except for a key element of the story, the arranged marriage, which is more difficult today – even if the author has worked valiantly at it. Add that we think of Molière in front of this comedy where the truth, or the voice of reason, often comes from a servant (piquant Charlie Monty) or from the girl whom we would like to marry against her will. It all forms a bit of a funny mix.
Alice Ronfard’s staging adds a layer of discrepancy to the show, by imposing pronounced gestures on the characters. In the absence of props, they mimic the manipulation of objects (such as drinks), accompanied by a very loud sound effect – which can annoy by its omnipresence. This choice inspires various interpretations: reference to virtuality, the abstract dimension of the current financial system — and new currencies —, the impression of a world based on window dressing. It also seems to underline the emptiness that marks this corruptible humanity. Thus Mercadet claims that at least the debts make him exist since his creditors think of him…
A choreography, with a mechanical side, mastered by the convincing cast. Karine Gonthier-Hyndman and Alex Bergeron, with subtle play, are a shameless couple. Alexandra Gagné-Lavoie reveals a strong presence, although her 22-year-old character evokes a big caricature of a teenager.
In the end, despite its lightness of tone, the maker offers the portrait of a very desolate world.