Photo: Caroline Laberge
Translated with accents very credible by Yves Morin, the piece is based on a delicate balance between the two colors.
Good idea to offer to a wider audience in this production, the foundress of the little company Blackboard, created Fred-Barry in November 2016. Ironically, the decision to resume the show, with the same team, at Jean-Duceppe would have been taken even before that its director, Jean-Simon Traversy, had become one of the two artistic directors…
It is true that with his humanity, his text the united states of america focused on the characters, its marriage of emotion and humor, The burrow (Rabbit Hole) seems to be cut ideally for the theatre company. One of the qualities of the award-winning play by David Lindsay-Abaire is to deal with a sensitive and tragic subject, the death of a child, yet without pay in a self-pity excessive. The opening scene looks a bit the color that appears first in a story that is quite fun turns out to be the detour that takes the sister pregnant (Rose-Anne Déry, very natural) to announce to Becca (Sandrine Bisson), bereaved by the death of his only son, the news, which could hurt him.
The author begins her story eight months after the fatal event, in a sort of abyss where life must continue even if everything is now changed. The terrier exposes the wave of after-shock, shows how all are affected, the parents who live their pain in opposite ways, but also the loved ones who sometimes react with awkwardness or discomfort and up to the adolescent (André-Luc Tessier, endearing) involved in the auto accident. It also illustrates how it is necessary to continue to manage the day to day, with its discussions were sometimes banal, absurd (the shower curtain…), in an existence that is suddenly deprived of all meaning.
Translated with accents very credible by Yves Morin, the piece is based on a delicate balance between the two colors. Balance, which seems broken at the scene of the party of anniversary, where the colourful mother (Pierrette Robitaille) pulls a little too much toward comedy. But the table eventually breaks in the discomfort, and blow up the non-said. And later on, this character will share with his daughter, an exchange poignant, sad, quiet, on the mourning. This gravity durable as it compares it, accurately, a ” brick in the pocket “.
Jean-Simon Traversy has had the intelligence to focus on sobriety, which means, in particular, de-clutter the scene props that are realistic. The set design: Cédric Lord place as a block threatening above the heads of the actors, while it relegates all objects — toys of the disappeared, but also the elements that the characters are supposed to handle — below the plateau. Feel all the emptiness that surrounds this family devastated by the loss.
The game is generally full of the same economy. Frédéric Blanchette oscillates with a high accuracy between a smooth surface and the anger that the father leaves sometimes burst. And Sandrine Bisson combines its strong presence in concrete of a beautiful restraint. Its Becca is proving all the more poignant that his suffering is first hidden under a facade stinging.
Written By: David Lindsay-Abaire. Directed by: Jean-Simon Traversy. Translation: Yves Morin. The théâtre Jean-Duceppe, until march 23.