Fire Review | Baptism of fire

Fires is a masterpiece that echoes as much the tragedies of Aeschylus and Sophocles as the current conflicts in Gaza and Lebanon. Its production at Duceppe, the first in Montreal in nearly 20 years, is one of the most anticipated shows of the fall.

Two decades after its creation, Wajdi Mouawad's play still challenges us about the terrible state of humanity. And the infinite cycle of violence. Unfortunately, Duceppe's show does not live up to this magnificent, powerful and lyrical text.

“Childhood is a knife stuck in the throat,” we repeat in Fires. However, with Duceppe, it is rather the staging that is stuck deep in our heads. As if the production did not trust the weight of the words and the shock of the storyFires.

When their mother Nawal Marwan dies at the notary's office, twins Jeanne and Simon discover a mysterious legacy when reading the will. Two envelopes with a letter that they are asked to take to a father and a brother, whose existence they did not know. During their quest abroad, in the footsteps of their mother, we will discover the tragic story of Nawal. Who was the victim of incest, rape, among other tragedies and horrors.

Universal drama

In their reading of the text, Ines and Elkahna Talbi wanted to make the story heard through Nawal's eyes. As if she were reliving her past with us, making her will. They also entrusted the character of Nawal to a single actress. A role that goes from 15 to 65 years old, which Andrée Lachapelle, Annick Bergeron and Isabelle Roy shared at the creation.

A challenge that Dominique Pétin, poignant and possessed of a beautiful stage presence, takes up very well. Unfortunately, apart from Denis Bernard, in the comic role of the notary, the rest of the cast disappoints. The game is uneven and lacks truth. It must be said that the performers must justify questionable, even incomprehensible, staging choices. Like this choice to dress the executioner (Reda Guerinik) in a Hulk Hogan costume to sing Supertramp with his guitar weapon. Sorry, but slaughtering civilians doesn't sound like karaoke night!

Anick La Bissonnière's ingenious scenography (a giant mobile with cubes that move, construct and deconstruct, to illustrate Nawal's memories) is very effective. The birth scene is also remarkable; like the final picture with the symbolic reconciliation between Nawal and his children.

On the other hand, there are too many stage proposals that are confused or highlighted in broad strokes: overloaded sound environment, colorful costumes and accessories, crazy lighting… And we are still entitled to these famous “spotlights” which blind the audience to convey the heavy message of a monologue.

The question of diversity

Which brings us to the elephant in the room… For some time now, Duceppe's management has been making room for youth and diversity in its programming. Which is, of course, very honorable. Quebec theater really needed to open its stages to new faces and new generations.

However, when we entrust the fate of a classic of the repertoire to two directors without any brilliance in the theater, we must surround them with a solid team. Unfortunately, it's not for everyone to shine under the spotlight of a big stage. It would have been advantageous if the directors could count on the expertise of veterans for such an important theatrical work.

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