Espace GO opens its season with a bold work that gives voice to a non-binary version of Joan of Arc. Rest assured, no one wants to rewrite History with a capital H. The piece Me, Jeanneexplores – for the sole needs of art – the historical framework of the Maid of Orleans by interweaving it with a questioning of gender identity.
The text written by Charlie Josephine, first performed at the Globe in London in 2022, was translated by Sarah Berthiaume, who also wrote the adaptation of The woman who runs awaycurrently showing at the Théâtre du Nouveau Monde. “We’re sticking a current debate on a story that has been told a thousand times, especially by men,” explains Mélodie Noël Rousseau, who co-signed the staging with Geneviève Labelle.
Labelle will also take on the features of Joan of Arc, whom they describe as a symbol of strength and self-determination. “It’s a firecracker with a fuse and that’s me!” reveals their interpreter with a laugh.
The audience will meet a 17-year-old girl who discovers that she is more than what she is told. “She wonders why guys don’t listen to her and the play evolves into something that questions gender,” explains Geneviève Labelle.
The duo, who have just won (with Josianne Dulong-Savignac) the Françoise-Graton prize for the play Blastcontinues on its momentum.
The story of Joan of Arc is told with larger-than-life characters, big costumes and props flying everywhere.
Melody Noël Rousseau, stage director
His sidekick is excited about bringing the energy of their company Pleurer dans’ douche to the stage of an institutional theater. “It’s pretty messy,” says Geneviève Labelle. “We’re not good!”
While members of the theatre community have been telling them for years that their work has a place at Espace GO, they are finally performing there. “Our works are all feminist: we denounce misogyny and patriarchy in all our shows, so it makes sense to be at the women’s theatre,” explains Geneviève Labelle.
“Our inclusive feminism is also intended to be a helping hand to feminists who came before us,” adds her creative partner. “We recognize their struggles and their realities, and we are open to discussion.”
PHOTO JOSIE DESMARAIS, THE PRESS
Geneviève Labelle and Mélodie Noël Rousseau
Niche theme?
When asked why the general public would be interested in non-binarity, the answer is immediate. “People want to turn a blind eye to it,” says Mélodie Noël Rousseau. “We talk about it in a joyful way to try to demystify all that.”
The play asserts that everything is fluid, that life overflows from our little boxes and that it drips on the edges of binarity.
Genevieve Labelle
While the room Michel(the)which addresses transgender identity, was greeted with a long ovation at La Licorne during its premiere on September 17, queer voices seem to be occupying more and more space. “Our words have long been put aside,” recalls Mélodie. “We had ‘accepted’ that our normativity was to listen to heterosexual stories in theater, television and cinema. We transposed our loves through their stories.”
The LGBTQ+ audience is hungry to recognize themselves on Quebec stages, as evidenced by their success. “We have both a loyal queer audience and many other people who like our artistic approach, who know that we are stirring things up and who follow us,” adds Geneviève.
To brew, they brew! In addition to carving out a unique place for themselves in the theatrical world, Mélodie and Geneviève have shaken up the world of drag with their drag king characters (Rock Bière and RV Métal) in recent years. “We’re still doing drag, but we’re more selective about our contracts,” says Mélodie. “We can’t finish at 3 a.m. on weeknights anymore. That said, there will be two kings in the play: they play the roughest people towards Jeanne.
True to their exuberance, the two artists chose to illustrate Joan of Arc’s battles with festive moments. “These will be raves sweaty and full of queer joy that invite emancipation, specifies Geneviève. Beyond her warlike conquests, Joan’s quest is a quest for emancipation and discovery of gender identity.
Me, Jeanne is presented at Espace GO until October 20, 2024.
Check out the event page
Me, Jeanne
Play by Charlie Josephine, translated by Sarah Berthiaume
Directed by Geneviève Labelle
and Melody Noel Rousseau
With Lé Aubin, Alexandre Bergeron, Maryline Chery, Nathalie Claude, Laura Côté-Bilodeau, Lyraël Dauphin, Gabriel Favreau, Geneviève Labelle, Anna Moulounda, Tova Roy, Gabriel Szabo and Phara Thibault
Go SpaceUntil October 20
Also not to be missed
Vernon Subutex in Quebec
PHOTO VIVIEN GAUMAND, PROVIDED BY USINE C
David Boutin, in the center, plays Vernon Subutex, a record store owner adrift.
Le Diamant welcomes within its walls one of the most subversive and hard-hitting pieces of last season: Vernon Subutexa theatrical adaptation of Virginie Despentes’ novel by Angela Konrad. The public can attend the first part (the most accomplished of the three) or treat themselves to the entire triptych in a great theatrical celebration lasting more than six hours. Anne-Marie Cadieux, David Boutin, Paul Ahmarani, Violotte Chauveau, Dominique Quesnel and the others are at the height of their art in this work where words and music combine wonderfully.
October 3, 4 and 5 at Diamant, in Quebec
Stephanie Morin, The Press
Check out the show page
Iphigenia at Pointe-aux
PHOTO JODI HEARTZ AND ALEX BLOUIN, PROVIDED BY LE PROSPERO
Katherine Céré (left) and Cassandre Mentor are from the cast ofIphigenia at Pointe-aux
Inspired by the character from Greek mythology, the Iphigenia in question here is a cheeky, combative and rebellious twenty-something who searches in vain for her place in the world. Stuck in a cycle of misery, she is one of those people who allow themselves to be judged… But “Effie,” as her friends call her, is above all an ideal vehicle for questioning the class struggle, austerity and the collapse of the social safety net in our societies. Written by Welshman Gary Owen and adapted by Alice Tixidre, this text places the action in the heart of Montreal. Isabelle Bartkowiak signs the staging of this play for a choir of four female voices.
In the intimate room of the Prospero, from 1er as of October 19
Stephanie Morin, The Press
Check out the part page
Sakura
PHOTO CARLOS RICHER, PROVIDED BY CENTAUR THEATRE
Sakura is an adaptation of Chekhov’s play The Cherry Orchard.
The Cherry OrchardAnton Chekhov’s flagship play, continues to inspire creators. This time, it is Montreal playwright and actor Harry Standjofski who takes on this story presented in English on the boards of the Centaur Theatre. Standjofski has chosen to set his play within a wealthy Quebec family of the 21st centurye century. It is a great opportunity to reflect on the notions of heritage, loss and the inexorable passage of time. Eda Holmes signs the staging; the music is the work of Torquil Campbell of the group Stars.
At the Centaur Theatre until October 6th
Stephanie Morin, The Press
Check out the show page
One song
PHOTO MICHIEL DEVIJVER, PROVIDED BY USINE C
One Song
Belgian choreographer, performer and visual artist Miet Warlop kicks off the season at Usine C with a work created to open the Avignon Festival in 2022 and described by the New York Times as one of the best performances of that year. On a stage that could host a sports competition or a rock concert, musicians, athletes and supporters gather. This is the material that will be used to stage a ritual where the limits of performance will be pushed back. The 12 performers go through all the extremes, evoking our human condition, in search of transcendence.
September 28 and 29, at Usine C. Please note that the performance scheduled for September 27 has been canceled.
Iris Gagnon-Paradis, The Press
Check out the show page
Dear Diary; A Mutation
PHOTO JACYNTHE CARRIER, PROVIDED BY L’ESPACE LIBRE
Pénélope Deraîche-Dallaire is behind the performative project Dear Diary; A Mutation.
There are only a few performances left at Espace Libre of this performance work by artist Pénélope Deraîche-Dallaire. The show, which unfolds in a strange and disturbing atmosphere, explores many narrative and visual avenues. However, all of them focus on violence against women, the ambiguity of desires and the fantasized return to nature. The creator has chosen to place the symbol of the mushroom at the heart of her message, “a changing body heralding transformation”.
At Espace Libre until September 28, then at the end of April at the Réjean-Ducharme hall of the Théâtre du Nouveau Monde
Stephanie Morin, The Press
Check out the show page
BOLERO X
PHOTO MICHAEL SLOBODIAN, PROVIDED BY DANSE DANSE
BOLERO X
Each of his performances is crowned with success, and shows performers at the top of their art. We won’t miss Ballet BC’s return to Montreal, with a triple bill. The company’s artistic director, Medhi Walerski, will present two of his creations, Silent Tidesan intimate duo, and Chamberoriginally created for the Nederlands Dans Theater. But this is the reinterpretation of the Bolero by Ravel by the prominent choreographer Shahar Binyamini, which will be the highlight of the evening. Inspired by this monumental work, the latter explores the power of repetition and the power of the group with no less than 50 dancers on stage.
From October 2 to 5, at the Théâtre Maisonneuve
Iris Gagnon-Paradis, The Press
Check out the show page