The waitress is sad in the Espace Libre

In the hallway, these are the classic notes Everything I lived is living in Texas Written by George Strait Who Welcomed Us, a song with a country feel that stands out amongst all. Immerse yourself in the ambiance appreciated by Théâtre Espace Libre, which likes to welcome its guests with specific winks according to each show.

With The Waitress are sad, Joe Jack and John returns with a production that, along with theatrical performance, is part of a true social promise: inclusive writing, an interconnected creative process, self-determination, and professional access. The sign language built into the display and subtitles remind us that these gestures, which make the difference, can be thought of from the creative process. Signed by Michael Nimbley in co-direction with Catherine Bourgeois, waitresses It is the second piece directed by an “artist with a difference of opinion” within the company.

Sober decor – table, chair, guitar, cowboy boots, checkers -, dim lighting, intimate atmosphere. Expect confessions and interrogations accompanied by catchy country rhythms. If country ringtones respond well to the call – those who are nostalgic for out of control And the Ashi broken heart You will be satisfied – confessions and depth of text, less. The play does not stop at the beginning, nor does it seem to take off in the race that one would expect in an objective world that necessarily evokes the great wilderness.

* Picture of Marie Siber.

Morrison the Cowboy, the main character in the play, accompanied by his cat Ti-Mousse, seeks adventure and escape, and ends up trading him standing still. It develops on a tired exercise mat, indicating that it is spinning in circles or moving forward without going anywhere at all. The bar where our cowboy lands are not represented by any decorative element.

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Greeted by five waitresses dressed in Western costumes – the famous “sad waitress” – Morrison watches them as they sit down to a line dance, then orders a fancy can of beer. Line dancing resumes, and the dancing waitresses release a chain of monotony into their profession and especially their existence. Morrison severely interrupts them. Dare to bypass her text!

Here the mise en abyme begins: the dancers – the waitresses – the actresses play to play as Morrison sets off to serve her, while he demands a new fancy beer between each rehearsal that we don’t know if it’s part of the show we’re seeing, or of the scene the old cowboy invents.

By order of Morrison, “We start over!” “The beginning scene is almost identical. At this moment, the viewer is still far from suspicious that this sequence will start again three times, and will finally compose the majority of the show. In tune with the artists, the viewer finds himself caught in a whirlpool of repetition, like everyday life that will not One manages to extricate oneself from them anymore – an old crunch, like scratched Western vinyl.

The scene in which dancers angrily throw bottles—also imaginary, like Morrison’s can—at arm’s length, accompanied by the sound of broken glass, enhances the play in terms of movement. A moment of rebellion before returning to the routine, where we understand that waitresses, not only sad but above all in crisis, search, like Morrison, for meaning in their lives.

The slowness in trying the theme, the stubborn repetition of the same situations – until the mechanics go wrong, and the small band of dancers break apart under the pressure of frustrated inaction – can confuse the spectator beyond their inner mind. As spectators, we end up wondering if we also have to find meaning in our lives outside the performance hall.

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The promise is more or less fulfilled

Summary of the play that describes this new creation. [à] Halfway between stage, dance and performance”, he gave hope for greater agility in choreography and less inertia. The idea of ​​Miz en Abomey and repetition represented a rich set of possibilities that could have been further exploited.

Overall, the play may have gained through play with humor, manipulation of self-irony, more sarcastic dialogue and faster unfolding, which would have amplified the characters’ existential questioning. We come out of this experience with the feeling of a piece that has not begun, and therefore cannot be completed.

The Waitress are sad will be shown at the Espace Libre Theater until October 1, 2022. Note that from September 27-29, performances will be available for the hard of hearing, while on September 28 and 29, they will also be available for the blind and visually impaired.

All performances of The Waitress are Sad include an actress in her cast who partially interprets the text in Quebec Sign Language (LSQ). Shows without LSQ subtitles will be translated into French.

Details and tickets here.

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