Critique of the show “Les Belles-Sœurs Symphonique”: a failed meeting

After Symphonic Montreal, Symphonic baby, Symphonic harmonium, Symphonic riopella et Ferland Symphonic – and before Symphonic daughtersa show scheduled in January – is the turn of Sisters-in-law by Michel Tremblay to be served these days in symphonic sauce. Similarly, Intrigant phenomenon. Similarly, which is not new, certainly, but which has gained an astonishing magnitude in recent years, largely thanks to the arranger Simon Leclerc and the producer GSI Musique.

From the musical of René Richard Cyr. However, Daniel Bélanger, created at the center of today’s theater in 2010, we chose to hold only the songs. However, Department of dialogues. Additionally, However, and therefore of any narrative frame, the representation, lasting 70 minutes, is limited to juxtaposing a dozen songs in lack of anchoring and in search of motivations. Furthermore, Even if the work occupies a place of choice critique show “les belles-sœurs symphonique”: in the collective unconscious of Quebecers. Meanwhile, there is an important dramaturgical gap, a void that the few childish interventions, not to say infantilizing, of the narrator embodied by Simon Boulerice are far from being able to fill.

Led by Dina Gilbert, the musicians of the Trois-Rivières Symphony Orchestra occupy most of the plateau. Moreover, On the platform installed at the forefront, the characters come and go in chic dresses evoking the 1960s. Similarly, Where are Germaine, her sisters, her sister-in-law, her daughter and her neighbors? Similarly, What brings these women together in a place strangely devoid of prime stamps? Why are they dressed in outfits that they could never pay? To these legitimate questions, the show staged by Lorraine Pintal does not provide the shadow of an answer.

Technical problems – Critique show "les belles-sœurs symphonique":

The evening of the first was marred by numerous and recurring technical problems. Deactivated microphones deprived us of a critique show “les belles-sœurs symphonique”: few choirs, but also some fragments of solos. Words have been forgotten. lost tempos, choreographies, executed approximately – as many slags that can be put on the account of nervousness and which should disappear from the next representations. More cruelly than everything else. what is missing from this show are the alliances and antagonisms, the tensions that give this group of women “in throat” its exceptional consistency, its tragic magnitude.

On this scene there are underemployed performers, such as Joe Bocan, Marie Michèle Desrosiers and Catherine Major. Others have enough time to get out of the game. like Marie Denise Pelletier (her Free A bit of operation is very effective) and Judi Richards (his pleasure in Clubs is highly communicative). Others are in total agree with their character. like Nathalie Choquette (born to play Lisette de Courval and to sing I’m ashamed) and Luce Dufault (which enuns Johnny Crisse with critique show “les belles-sœurs symphonique”: all his soul). And then there are those whose talent of singer. actress is so great that he is breathless, like Kathleen Fortin (her interpretation as My brushes sellercanonical, did not have a wrinkle) and Renee Wilkin (his poignant interpretation of Cursed is worth the price of the ticket alone).

Symphonic orchestrations are neat. pretty, it even happens that they serve the subject, intensifying for example the preciousness of I’m ashamed or the grandiloquence of Ode to bingobut we cannot help but regret the Jazz, Soul and Gospel accents of the original version, much more in line with the room, the middle and the era it crystallizes. This show, not very inspired, often clumsy, was probably not ready to meet an audience. This is called a missed meeting.

To watch in video