Patrick Emmanuel Abellard, Jean-Philippe Côté and Catherine Side camp with plenty of natural characters in the play<em> displayed</em>.
February 26, 2020 16h21
Updated at 19h17
To the poster: the truth in small things
CRITICAL / With his adaptation of the play The Flick, Annie Baker, Angelique Patterson invites the public to join here in a theatrical experience rather singular, where an apparent banality cache, on the form as the substance, is an undeniable quest for truth.
All in all, there isn’t much in the displays, presented since Tuesday, in the First Act. For nearly three hours, it should be noted-the. The show contains lengths? Certainly. Is it that we miss so far? Not necessarily the same. The moment that we accept the rate that is offered to us.
Adapted and directed by Angelique Patterson, To the poster leads us in a movie theater rundown, where employees are underpaid do their work between two projections. We are witnessing the major part of the time of the cleaning sessions in which two guys are sweeping the popcorn and pass the mop in the rows.
A young movie fan recently hired Avery (Patrick Emmanuel Abellard), lives obviously an existential crisis : depressed, anxious, clumsy, he seems comfortable only when he talks about films. From his side, Sam (Jean-Philippe Côté) has all of the loser friendly : at 35 years old, he lives in the attic of her parents, is far from a whirlwind as the ambition and sees more young people get promoted in what they see as a small job.
Between two strokes of the broom, colleagues discuss, often joined by Rose (Catherine’s Side), a projectionist and exuberant, but looking for it also. In these exchanges of anecdotes and confidences, seemingly ordinary, each will come to reveal, at a time when the digital transition — and the disappearance of the good old projector 35 mm risk of upsetting the established order. This is where the power of the text, Annie Baker, winner of a Pulitzer prize in 2014 for The Flick : bring out a truth of which seems to be only of small things and a lot of non-said.
Angelic Patterson sign a French canadian adaptation fluid, worn with finesse and a lot of natural by the trio of actors. The constant voltage of Avery, the false nonchalance of Sam (the Side we laugh just to unpack her lunch…) and the sparkling Rose we bring them to a balance. It attaches to the characters, and even when a scene stretches in exchanges that seem trivial, we still want to follow them to see where they will lead us.
Called in support, Charles Fournier succeeds as its effect. Even when it is only to spread again, popcorn and paper cups in our cinema. Because for our two sweepers, the work is always to be begun again.
Full of cinematic references, To the poster calls without projecting an image (the public is confronted with rows of seats, where trônerait usually the screen) lovers of the seventh art, from Truffaut to Avatar passing by a delicious detour in the Pulp Fiction of Tarantino, among others. This tirade of the bible, it is the candy. Samuel L. Jackson would be proud…
The piece shown is presented in the First Act until the 14th of march.