In “The duchess of Langeais”, Jacques Leblanc is sailing in a sea of shades. And there excels.
November 15, 2019
Updated on November 16, 2019 to 5h26
“The duchess of Langeais”: “the death of the love
CRITICAL / It has been written there is a fifty years as a solo show. This is on the boards of the Trident, in a staging by Marie-Hélène Gendreau, and carried by a admirable of Jacques Leblanc, “The duchess of Langeais” by Michel Tremblay forks, to dance, to sing, refresh… And turns out to be much more relevant and touching.
Probably less well known than his famous sister Albertine, the character of Edward is a recurring motif in the work of Tremblay. Homosexual repressed by day, transvestite flamboyant and bombastic for the night, he will be a pillar of the montreal nightlife in as duchess.
In this piece written the same year that The sisters-in-law, we will encounter an Island they get older, that gets drunk alone in the bar of an all-inclusive. Rejected by his peers and by a young lover — who had left to surprise to fall in love, it défoule, tells, tells. Faced with his loneliness, he saw a mourning of love. And he spares no one, especially not himself, in this monologue, where laughter is never far from the drama.
Such a balancing act of the game, Jacques Leblanc finds himself on the tightrope in this role where he must constantly return on a 10 ¢. Because it is complex, this Edward. It passes in a wink of an anecdote truculent or a bitcherie felt good to confessions and heart-wrenching.
In the same way, he is as capable of great vulgarity vociférées in joual as the parlure mannered of a duchess “who has the letters,” or a poetry declaimed solemnly. It is the way of Tremblay to make us laugh and to focus on its characters before (almost) we knock him out, revealing to us of a sudden their drama, their pain, their humanity. With a lot of boldness and something which sounds like abandonment, Jacques Leblanc is sailing in a sea of shades. And there excels.
In a staging of Marie-Hélène Gendreau, the idea of inviting in The duchess of Langeais musicians Keith Kouna and Vincent Gagnon and the dancer Fabien Piché turns out to be more than a carrier.
THE SUN, ERICK LABBÉ
Music and dance
To hear some of his lines in the most raw, one wonders how The duchess of Langeais has been perceived in his creation, there is a fifty years. Anyway, hard to deny the great news of the version that deploys the Trident these days. In this scene, signed Marie-Hélène Gendreau, the idea to invite in this monologue, two musicians and a dancer turns out to be more that a carrier, highlighting several subtleties in the text.
The music of singer-songwriter Keith Kouna — which enters the world of The duchess… without losing hers — and the pianist Vincent Gagnon magnifies the character of Edward in his greatness as in his tragedy. It is beautiful, and often, it rocke!
It suggests a younger version of the duchess or some of his lovers of the past, the dancer Fabien Piché — in a choreography imagined by Alan Lake — literally comes to lend body to the story, make it physical, incarnate.
Through music and dance, new dimensions of modern, touching, and intriguing are added to the room, which could already count on an actor completely invested. The sound of an original song by Keith Kouna, the final of what upset.
The play “The duchess of Langeais” is presented to the Trident until 7 December.