Plays at Winnipeg’s only French language theatre are performed in French but they provide subtitles via free tablets. In other words, TCM is working hard to reach out to anglophone audiences and it’s up to you to go see their shows. All TCM shows are reviewed by writers who are bilingual and able to appreciate the poetic logic of the text. Please feel free to check out placeautheatrewpg.com for exclusively French content.
By Dominique Wyrchowny
Les Fourberies de Scapin : Endless antics and tomfoolery (in the best way possible!)
An oldie but a goodie, absolutely absurd tomfoolery. The Théâtre Cercle Molière brings to life the classic comedic tale into what feels like a real time cartoon. A well fitting score, modernised text and absolutely stunning costumes to be devoured over and over.
In Les fourberies de Scapin we are presented a story of a man Géronte (Yvan Lécuyer), a boss at the top and those he considers below him. At the start of the play, his son Léandre (Jack Maier), the only heir, does not want to take over the family business but rather pursue his passion for acting… but in English. Léandre has learned the terrible news that his father is finally returning after some time away.
In the play we see the character of Scapin (Ava Darrach-Gagnon) time and time again fools Géronte. Mostly to get back at him for being a rich capitalist that doesn’t pay his workers or treat them very well. In turn Scapin helps Géronte’s son to enroll in school for his dreams.
I am not intimately familiar with the original play but did know this was an adaptation from a Molière texte. Looking into it further it is also a condensed version with less characters than the original. The adaptation stays in tune with a comedy, and goes beyond with its cartoonish colouring, lighting sound and even the way the characters are played! Not to miss the wittiness isn the adaptation.
There are countless bits and gags throughout the play and you are made to feel in on them the whole time. The 4th wall is broken with direct eye contact and being directly spoken to. Not to mention one invitee from the crowd (that may have been pre-planned and possibly changes every night?) That played a quick part in the play. This can make an audience uncomfortable and to be honest I was a bit on edge to be interacted with. Though these are the dangers one must assume when sitting in the front row! I was having such a blast watching these characters depict everyday follies.
The text adaptation was mostly well done. The text, when using what I assume to be closer to Molière’s original words, is dense. The adaptation does well in bringing the old text in an ebb and flow to keep some of the flavour but it did take some time to ease into. Perhaps in the beginning when establishing the scene to ease into the French verbosity we are getting into. WIth that said, there was a lot of fun use of modern language and challenges. For example when talking about capitalism, Canada’s current affairs with the U.S and how there is no University curricular for theâtre in French. I also want to note, It was great to hear a variety of French accents and to see the range of experienced to new actors!
Notably Géronte, played by Yvan Lécuyer, was so believably this big bad cartoon villain. His stage présence was enormous and beyond ridiculous. Thoroughly enjoyable! He was also greatly complimented not only by his downfall (Scapin) but his almost disgustingly orange velvet suit, with cropped pants! The way that Scapin was played- I was fully convinced of her insanity and childlike meddling nature. Along with ,and I’m unsure if this was on purpose, the character was played very androgynously and though mentioned in the text a few times that her gender comes into question, when she’s constantly causing trouble for Géronte. Which by the way the whole time I was thinking his name was Gérant… a bit fitting and probably part of the joke! Ava Darrach-Gagnon did a great job of depicting the character and was a perfect imp. Overall, the cast was fun. Many of the characters had good chemistry in their scenes, while others struggled to make their interactions feel fully believable.
Now, the physical scene, the costumes, lighting and sound! Something that is fun about the TCM if you’ve been able to go, their theâtre has few configurations. One that can be especially fun is what I’d like to call the runway style. The play is sandwiched by two seating areas. For this play this was used especially well, as the entire play takes place on a mini golf course, which are typically rectangular. It not only makes you feel more involved as in just watching someone’s daily life but also gives you an observative feeling. Like the characters are just in a little diorama! The costumes play along with the actors. You’re eyes have so much to deconstruct but luckily it doesn’t take away too much attention from the show.
The lighting had the playfulness in mind as well using disco ball reflection motifs and different filtered lights. Lastly, the sound was complimentary to what was trying to be established. Again, cartoonish and unserious! Using some familiar old tunes from video games and really giving the feeling of nostalgia which visually I felt this show was putting out as well. This was really well used for Géronte’s theme that matched that of a final boss in a classic game.
This show was a blast to watch and a délight to hear. The actors bring their all with the level of physical comedy required and play around with their text with ease. You can tell the cast is enjoying themselves.
If you’re looking for something fun and unserious this show is for you. Though the play did touch on current events and problems it doesn’t go into it deeply. Even the scheming against a billionaire feels so inconsequential. If by chance you’re also a big fan of original Molière plays, you may want to see this silly adaptation for a lighter bite!
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