Espace Go opens its season, the first under the helm of Édith Patenaude, with Me, Jeannea play that questions the gender identity of the Maid of Orléans. A powerful production, which is part of the new director’s desire to make “a big breath of fresh air” in the theater.
First of all, let’s be honest. We were going to see Me, Jeanne with a very big bias… More theater with a message for “those” who understand nothing about the identity revolution? But can you just tell a story and let the audience think for themselves? Ultimately, this show made us think, while entertaining us.
It is characteristic of rebellious youth to be in a hurry. If we want to change the world, we don’t have time to wait for consensus. Nor to get bogged down in nuances. The British artist Charlie Joséphine had a very good flash of associating the urgency and warlike ardor of Joan of Arc, with the new fight on gender identity, led by young LGBTQ+ activists, impatient to put an end to it with patriarchal society.
“What if Joan of Arc had been non-binary? » This is the premise of the play, directed with aplomb by Geneviève Labelle and Mélodie Noël Rousseau. Their show juxtaposes the medieval and the contemporary, caricature and tragedy, burlesque and activism. Their proposal is radical, even frontal, but with a lot of humor and invention.
PHOTO YANICK MACDONALD, PROVIDED BY ESPACE GO
Gabriel Szabo and Geneviève Labelle in Me, Jeanne
Civil War and Identity
We know the story of the French heroine, condemned for heresy and burned at the stake at the age of 19. During the Hundred Years’ War, the 17-year-old peasant girl claims to be “mandated by God” to save France. She goes to see the dauphin and future king, Charles VII, to convince him to let her lead her army against the English troops who occupy the country.
In this “queer” version, Jeanne leads a second battle: getting rid of a gender label that does not correspond to her. “Being born a woman in a man’s world is war. But being born in a woman’s body when you’re not a woman is civil war,” illustrates the character in the play.
Under the energetic direction of Geneviève Labelle and Mélodie Noël Rousseau, in the colorful language of Sarah Berthiaume, the production moves from sociopolitical message to party ravefrom identity tragedy to La Ribouldingue (or commedia dell’arte, if you don’t know this children’s show from the 70s). We talk about patriarchal contempt; THE mansplaining ; sexual violence, the careerism of women in power…
PHOTO YANICK MACDONALD, PROVIDED BY ESPACE GO
Me, Jeannea hard-hitting and militant show on display at Espace Go
The right to be yourself
If the text is pamphleteering — “Being queer is magical!” Your [vieux] words are rubbish; we must deconstruct social norms to go beyond small boxes” —, Charlie Joséphine manages to tell the story of the patron saint of France, while calling it into question. We are touched by the quest of her non-binary Jeanne who fights for justice. And the right to be yourself.
However, what most attracted us was the form. The battle scenes choreographed by Alexandre Morin; the lively music of Alexander MacSween; the mind-blowing costumes of Wendy Kim Pires; lighting and scenography. We are immersed in a fairly invigorating chaos of styles, colors and intentions.
PHOTO YANICK MACDONALD, PROVIDED BY ESPACE GO
In Me, JeanneGabriel Szabo is both laughable and tragic in the skin of the frivolous King Charles VII.
The cast of 12 performers is inclusive and… fluid. Let us mention Geneviève Labelle who perfectly embodies the flamboyant Jeanne; Thomas, the king’s confidant, played with truth and sensitivity by Gabriel Favreau; without forgetting Gabriel Szabo. Both laughable and tragic, the actor is remarkable in the skin of the frivolous monarch who never ceases to chant his authority. A great acting performance!
Consult the part page
Me, Jeanne
By Charlie Joséphine. Translation: Sarah Berthiaume. Directed by: Geneviève Labelle & Mélodie Noël Rousseau.
At Espace Go. Until October 20