Angela Konrad hit hard in 2022 with the theatrical adaptation of the first part of the literary triptych Vernon Subutex, revived these days at Usine C. The Montreal director does it again by infusing rock energy, lively emotions and gnashing of teeth into the second and third parts. All in an almost flawless suite.
Vernon Subutex, a deposed record dealer who was sent to the streets by bad luck, has put on his torn clothes again to drag his rock star look onto the stage. Around him gravitates a gallery of characters that life has not spared. Tramp, ex-porn star, talentless screenwriter or musician with a violent inclination…
Initially, they will be there to offer Vernon a couch to squat on or a line of coke to snort. But when the latter ends up choosing the street – and the freedom that comes with it – they will all come back to find answers to the questions that haunt them.
Soon, an entire community will be created around Subutex, an improbable messianic figure in an era without compasses.
Together, they will give rise to spontaneous gatherings, called convergences, orchestrated around the music of one of their idols, the late Alex Bleach. But while they dance, the world becomes radicalized, terrorist bullets rain down on France. And the powerful (the masculine is not insignificant here) continue to write history according to their own rules (often to the detriment of women, let’s say it).
PHOTO VIVIEN GAUMAND, PROVIDED BY FACTORY C
The entire cast of the first part of Vernon Subutex is back.
For this strong comeback of Vernon Subutex on stage, Angela Konrad was able to count on the entire original cast. David Boutin masterfully takes on this role tailor-made for his appearance as a rocker with a tender heart. Despite the dirty hair and yellowed teeth, he is charismatic as possible in the skin of this man who floats on life like a leaf on the ocean.
At her side, Anne-Marie Cadieux, Violette Chauveau and Dominique Quesnel are flamboyant. The first plays a completely neurotic mistress, offering the public an anthological fuck scene. The second is notably Pamela Kant, porn star who dreams of writing a book (to explain porn to toddlers!). The third is The Hyena, queen of social networks capable of destroying a reputation in a few clicks. Dominique Quesnel also brings tears to our eyes in the role of Olga, a tramp whose dog was euthanized by the police.
Let us also note the solid performances of Paul Ahmarani – a failed screenwriter with ideas that stink of mustiness – and especially of Philippe Cousineau as an omnipotent producer through whom evil happens.
As director, Angela Konrad succeeded in creating strong images that stick to our retinas for a long time.
One of the most beautiful: The Hyena who, like Mary Magdalene before Christ, washes the feet of a filthy and exhausted Vernon Subutex. Or this equally Christ-like finale, where a vinyl is sanctified on the altar of music…
Music also occupies a preponderant place in this show; we hear Johnny Halliday and Nina Hagen, Rihanna and Sepultura in turn. She is a character in her own right here, to the point where the production had the genius to offer the soundtrack as a playlist on Spotify. Great idea, because we leave this show with a thousand tunes in our heads and a crazy desire to dive back into this carefully chosen punk, rock, metal or pop music.
We should not forget the impressive video design by Alexandre Desjardins, which takes us in a fraction of a second from the cold front of a Monoprix to the softness of the nights on the Buttes-Chaumont. In fact, the lighting by Cédric Delorme-Bouchard, the sets by Louis-Charles Lusignan, the costumes by Marie-Audrey Jacques and the wigs by Angelo Barsetti offer this ambitious production a setting to match.
Usine C has chosen to offer three distinct shows around Vernon Subutex. The first part – the most successful – is back, for those who did not have the chance to see it in 2022.
Parts 2 and 3 are grouped into a single show, presented independently. The latter did not reach the maturity of the first opus. It must be said that, failing to obtain the funding hoped for from the Canada Council for the Arts, the production had to make sacrifices creatively, but also cut rehearsal hours in half. These choices are not without impact and we sometimes feel that the story accelerates unduly or that certain scenes could have been more wrapped up, magnified by the designers.
Finally, the show is presented on Saturday in its full version of more than seven hours (including intermissions). A powerful experience, to undoubtedly mark a milestone in the theatrical calendar of the season which is ending.
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Vernon Subutex
Text by Virginie Despentes, adapted and directed by Angela Konrad. With nine performers, including David Boutin, Anne-Marie Cadieux and Violette Chauveau.
Factory CUntil May 18