The less glorious or more difficult aspects of parenthood, and more particularly of motherhood, have been the subject of much discussion over the past fifteen years. Let us think of the Chronicles of an unworthy mother by Caroline Allard (whose first volume dates from 2007) or to Trenches by Fanny Britt (2013), as well as to the many blogs that are part of this movement of demystification and guilt-freeness. Jaydena play written and performed by Sara Karel Chiasson and Mathieu Lepage, offered in a 5 to 7 format at Duceppe, follows this wave, adding a few swirls of originality.
The parents of 3-year-old Jayden will lead — together — the quest for a providential place in daycare and will face — individually — the challenges of their new broken family life. Because Cindy and Fabrice broke up their union shortly after the birth of their baby. Although they cherish their little one, they do not fail to bitterly disillusion themselves with the idyllic joys expected from parenthood.
Cindy will even go so far as to defy one of the ultimate taboos by confessing that she does not like “being a mother”. The play could have stood out from the speeches already made by exploring this theme, but it is only touched upon. Where Jayden nevertheless explores less frequented lands, it is by highlighting Fabrice’s journey, which benefits from his paternity. His podcast series Paparadiswhere he proclaims himself “super dad”, propels him into the upper echelons of popularity and, consequently, of superficiality. However, the person whom others consider heroic because he once brings his child to work or because he “helps out” his ex-partner by giving her son a moment outside of his weekends of childcare realizes that, behind all the bluff of his character of daddy coolhe fails to live up to his own aspirations, confessing that he no more enjoys playing trucks with his child than he enjoys attending his birthday party.
Gradually, the comical situations, where the ex-couple deploys offerings of muffins and a promotional video of their little angel in order to increase their chances of finding a place in daycare, turn into real tensions, even distress. In less than an hour, Jaydenunder the direction of director David Strasbourg, thus manages to slip from pure comedy to the drama of ordinary doubts and existential questioning. That is rather clever. And interpreted with accuracy.
What’s more, the production has a significant asset: the presence on the playing field of young Louis Lepage, son of the actor-playwright duo. The little boy reigns over the trifrontal stage strewn with toys where he gives free rein to his playful impulses, triumphing over “cuteness”. This requires the actors to deal with the unexpected, which they do brilliantly if we are to believe the unexpected catapulting of an (empty) lunch box onto a spectator during the media premiere. Chiasson seized the event by asking Jayden not to throw his food at the wall – the fourth, in this case. A tasty recovery.
A bit like in the case of Babiesby Emmanuelle Jimenez and Alexis Martin, in 2019, where actors played alongside their babies, the presence of very young children allows the speeches made about them to be embodied with more perspective, the adorable inextricably rubbing shoulders with the overwhelming. Here, the audience might feel a certain unease at the fact that the little boy witnesses the feigned heartbreak of his real parents, hoping that this will not disturb his serenity. Does this discomfort serve the purpose of the play? Without a doubt. By reminding us that adult conflicts can offend those who innocently tread the battlefield. However, a (superfluous?) video montage testifying to happy moments of the trio in real life serves as a finale in order to reassure us about the cherub’s well-being.