Three years ago, the author Gabriel Plante and the director Félix-Antoine Boutin gave birth to the squeaky Popular and sensational story. We find ourselves elsewhere in their new creation, a singular piece, less readable in its meaning, but hardly less playful and imaginative. Story as out of time, linking the degradation of a couple and the evolution of the human species, the philosophical and the sensory, On the appearance of bones in the body seduces, intrigues, even if the spectacle often leaves us disoriented in terms of rational understanding.
This metaphorical fable centers on a numb woman who claims that no amount of trauma can hurt or kill her. In search of sensations—and, it seems, hoping for a possible future metamorphosis—Lorene throws herself down various tall structures to break every bone. Having experienced a breakup, she fled to a hotel room in the middle of the Mojave desert, in the company of a strange character: a being with no name, determined gender or even anatomical content, describing himself as “the organic equivalent of a thought “. A hermit-like figure she found begging in “Berri Square”…
We seem to be witnessing here the identity questioning of characters who use scientific or geological references to define themselves, on very large temporal scales. We hear, for example, Lorene trying to explain through geometric shapes the increasingly distanced relationship that linked her to her lover, Godfrey.
From a scene where the narrator frankly adopts the posture of a stand-up comic to another, where we see her cleaning a skeleton like an archaeologist, the nature of the room itself seems to be in perpetual transformation. On the formal level, in any case, the show of Creation in the bedroom is successful. Odile Gamache’s scenography holds more than one surprise with its red curtain camped in the center of the stage, between a bed and a bathtub, which opens to reveal a sandy space where a telephone booth is planted. The attractive musical and soundtrack by Christophe Lamarche-Ledoux also contributes to the strangeness of the universe.
Performers Amélie Dallaire and Gabriel-Antoine Roy, with their assumed singularity, form a duo that is both crazy and cohesive, playing in areas of intimacy. The actress also skillfully lends her recorded, and modified, voice to the ex, Godfrey, a composition that adds offbeat sounds to the landscape of the room.
In short, even if we get lost through its many tracks, we do not get bored in front of this kind of road movie existential scene.