Premiered in Kingsey Falls last summer, the musical Lili St-Cyr is passing through these days at the Théâtre du Nouveau Monde, where the Gayety once stood, an emblematic theater of post-war Montreal where the famous American stripper Lili St-Cyr performed from 1944 to 1951. Thanks to this funny and moving show, the ghosts of Red Light of Montreal are more alive than ever.
With the creators of La Corriveau and of The GiantessGeneviève Beaudet and Audrey Thériault, the trio at the origin Lily St-Cyr, Mélissa Cardona (text), Kevin Houle (music) and Benoît Landry (director), contribute significantly to the construction of a repertoire of Quebec musicals. If these productions, with subjects that some will say are historical, others nostalgic, are certainly not blatantly current, they have the great quality of being brought to life here with care, resourcefulness and talent.
“The arms of the city are open, come and dance right side up, upside down. » It is with this refrain that the protagonists of Lili St-Cyr take us into the Montreal of Camillien Houde and Maurice Richard, this decadent city where pleasure is synonymous with games, alcohol and burlesque. Between Thomas Cloutier (Maxime Denommée), the shy restaurant manager of Gayety, and Jimmy Orlando (Stéphane Brulotte), the boastful owner of El Morocco, the war is on. It’s up to who can hire Lili St-Cyr, the blonde stripper whose name is on everyone’s lips.
The ingenious staging is based on Marilène Bastien’s minimalist and yet very evocative decor, tulles which maintain the mystery, rolling structures which, carefully lit by Martin Sirois, bring the smoky cabarets back to life. We go from boxes to staircases, from footbridges to alleys, from the airport where the star’s plane has just landed to the crowded Forum on the evening of a decisive match. Thanks to the colorful lyrics and heady music, the songs, 13 of which have been recorded, brilliantly recreate the era.
In the title role, a woman whose free will is undeniably feminist, Marie-Pier Labrecque is irresistible. Magnificently dressed by Sylvain Genois, enhanced by the choreography of Alex Francoeur, his Lili is both grandiose and fragile, divine and yet very human, imperial and nevertheless thirsty for love. “I am a bottomless pit,” she repeats. For this character as for the others, Cardona knew how to capitalize on the contradictions, the unfulfilled aspirations, thus giving his creatures an added humanity.
Singer, Sophie Leblanc dreams of seeing her name on the marquise instead of that of Lili. We first believe that they are rivals, and then we realize that they are two sides of the same coin. With a voice as powerful as it is expressive, Lunou Zucchini excels in the role of Sophie. When she sings Spirala vibrant tribute to her fortress father, she gives the show its most moving moment.
Kathleen Fortin is Jessie Fisher, the municipal councilor who fights to end the Montreal that Lili St-Cyr embodies. In this role of a slightly puritanical pioneer, the actress, who as we know has an exceptional voice, communicates all her conviction. Sparks result from each of his altercations with Roger La Rue, who plays a retrograde radio host acting in a way as the narrator of the adventure. La Rue embodies several other characters with admirable ease and devastating comedy.
Although the show lasts 2 hours 25 minutes, it must be admitted that the ending is a little abrupt. Small drawback which absolutely does not detract from the great pleasure that the evening provides. We are delighted to know that Cardona and Houle are working on a new musical which should see the light of day in 2025.