The new guard in the theatre has as much faith as the pioneers who founded the companies in the 1950s, 1960s and 1970s. But no one is expected to achieve the impossible.
Quebec theatre is at a turning point. The erosion of public funding is endangering the survival of companies. Because subsidies have not kept up with the massive investments in concrete for several years. While everyone claims to have inherited healthy theatres, we fear the years of austerity to come.
“There is a historic delay in funding levels for the performing arts,” explains Geoffrey Gaquère, who has just arrived at the helm of the Théâtre du Nouveau Monde (TNM). “A theatre that owns a building, with permanent staff, is less financially supported than a company in residence that lives in its own home. It doesn’t make sense.”
While operating costs have increased, financial support has not. “We have all received our quadrennial results from the CALQ [Conseil des arts et lettres du Québec]”For the majority, it’s the status quo or a minimal increase that doesn’t take inflation into account. We’re going to enter into structural, systemic deficits,” worries Edith Patenaude, who has just launched her first season at Espace Go.
The new guard inherits well-established but crisis-ridden theatres. Before taking up their posts, these artists did not think they would have to fight for the survival of their companies. “I am 35 years old and I am thinking about the closure of Espace Libre, a venue that is 45 years old,” confides Félix-Antoine Boutin. “I am responsible for protecting it; the ashes of Jean-Pierre Ronfard are in the theatre!”
The founders did not build this theatre to become a spa… We are the guardians of a heritage, which is also the heritage of Quebec.
Félix-Antoine Boutin, director of Espace Libre
According to the directors, the entire theatre ecosystem is currently shaken. “What binds us together is the idea of passing on an ecosystem that will be as rich as the one we were left with. If Espace Libre falls, Espace Go falls, Denise-Pelletier falls… It’s a chain. It’s like removing a piece from a Jenga game,” illustrates Édith Patenaude.
PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
The new guard of artistic directors at the theatre: Xavier Inchauspé, Édith Patenaude, Catherine Vidal, Geoffrey Gaquère and Félix-Antoine Boutin
More checkboxes
Artistic directors note that public authorities ask companies to apply their political orientations: “We must respond to a multitude of requirements, criteria, in our grant applications,” says Catherine Vidal, co-director of Quat’Sous.
We have to explain what we do for the community, accessibility, diversity, the territory, eco-responsibility, cultural mediation… However, it requires more manpower and money to do all that, in addition to our missions.
Catherine Vidal, co-artistic director of Quat’Sous
The donors’ criteria also create a homogeneity in the programming. We sometimes have the impression that these are similar from one theatre to another. Is it more difficult to stand out today?
“At Quat’Sous, we have just arrived. We are still in the process of defining the colour of our theatre. But it is certain that a movement has been triggered in recent years. We are very much in discussion, in emulation between the companies. We are curious about each other”, answers Xavier Inchauspé.
We are delighted by the good moves of others. We are really not in a competitive dynamic.
Edith Patenaude, artistic director of Espace Go
Around the table, we find it paradoxical that the Legault government constantly talks about Quebec identity and nation, without ever mentioning the performing arts.
“It’s easier to invest in Bombardier,” illustrates Edith Patenaude. “If the plane isn’t built, you see it right away. Whereas the theater…
PHOTO HUGO-SÉBASTIEN AUBERT, THE PRESS
Stephanie Morin, Catherine Vidal, Geoffrey Gaquère and Luc Boulanger
– But Edith, Quebec will not take off if the State does not invest in its culture. Culture is our calling card in the world,” retorts Geoffrey Gaquère.
A lobby for the performing arts
Like its predecessors, the new guard considers that theatre is a public and essential service. “It is not useful as a tool, but it is the cement of living together in a society,” believes Félix-Antoine Boutin.
In addition, every dollar invested in culture goes back into government coffers. It brings them money in the same year.
Xavier Inchauspé, co-artistic director of Quat’Sous
According to Félix-Antoine Boutin, we are living in a golden age for the performing arts. “The public is present in our venues. Apart from the performances in the evening, several activities also take place during the day in the theatres: conferences, workshops, artist residencies, community reception… But we are facing a wall. And recognition from the public authorities is lacking.”
The new artistic director of the TNM relaunches his comrades, emphasizing that it is “our role to explain it to the population.”
Our fight is not just about having more money, it is our ability to mobilize. There are lobbies for all sectors, oil, audiovisual, etc. We also need one for the performing arts.
Geoffrey Gaquère, artistic director of the TNM
In their upcoming projects, the five directors will prioritize audience development, to rejuvenate it and reflect the changes in Quebec society. “The great wealth of theatre in Montreal is the diversity of venues,” they observe. From Usine C to Quat’Sous, including Rideau Vert and the TNM, each theatre has a different configuration, capacity and stage.
The role of artistic directors has changed over time. “At Quat’Sous, we are more lightning rods, explorers, than producers of shows. We do more collaborations, co-productions, covers,” notes Xavier Inchauspé.
“People are surprised when they learn that we prepare our programs two years in advance… But putting on a show is a long-term job,” adds her colleague Catherine Vidal.
According to them, to get out of the current crisis, and to prevent their theaters from becoming “garages” that rent their rooms to producers, artistic directors will have to be united and “form a common front.” “We’ve been good students up until now. That’s enough. It’s time to shake things up,” concludes Geoffrey Gaquère.