Tag: 2011

And Slowly Beauty: a script to make the audience ponder the meaning of their own lives. Haunting and inspiring.

And Slowly Beauty: a script to make the audience ponder the meaning of their own lives. Haunting and inspiring.

shamata pw1209

Photo of Michael Shamata.

As much a love letter to the power of theatre as an exploration of life’s passing, sometimes mundane and often heartbreaking beauty, director Michael Shamata’s And Slowly Beauty…spins a story at once incredibly complex and devastatingly simple.

The play, originally a collaboration between writer Michel Nadeau and his Quebec collective, Théâtre Niveau Parking, is currently showing as a co-production of Ottawa’s National Arts Centre and the Belfry Theatre in Victoria, B.C. and is emotionally rich and intense. It is the story of the average middle-aged Mr. Mann, played by the brilliantly talented Dennis Fitzgerald, who wins tickets at a work draw to see Anton Chekhov’s The Three Sisters. The play, about sisters living in a provincial Russian town and longing to return to Moscow, is also a story of unfulfilled dreams, the fruitlessness of continually chasing something, and the beauty which is sometimes lost in everyday life. Mr. Mann attends alone and in the process finds himself shaken to his core and suddenly awoken to the dreariness and emotional isolation of his own situation. Cekhov’s play is henceforth intertwined throughout the events happening to Mr. Mann.

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Lettres d’Amour à Staline de Juan Mayorga, à La Cartoucherie de Vincenne

Lettres d’Amour à Staline de Juan Mayorga, à La Cartoucherie de Vincenne

Une scène remplie de mobilier lourd nous accueille : des tables, des chaises, des divans, un lit et des bibliothèques vides alignés comme des sentinelles. Ces objets enferment voir étouffent l’homme penché sur sa table d’écriture en train de rédiger à un rythme frénétique. Des miroirs encastrés dans des placards renvoient à l’écrivain l’image de sa propre déchéance, tout en nourrissant sa panique et son besoin de sortir de cette exclusion qui est en train de tuer son âme d’artiste. Déjà le dispositif scénique construit avec beaucoup d’efficacité un lieu clos sombre qui incarne le monde intérieur d’un créateur frappé par l’interdiction de l’état stalinien et annonce la nature obsessionnelle d’un texte qui fouille impitoyablement la psyché d’un homme que l’état condamne à l’inexistence.

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