CRITICAL / Taking the words of local poets as theatrical raw material, sisters Véronique and Gabrielle Côté did not miss their target with Attentat a few years ago. Here they reoffend with an undeniable expertise and a force of striking tenfold in I raise, which has just taken the poster at the Trident. Lively, colorful and inspiring, the festival of poetry they drive sweeps like a wind of freshness, a call to action and a manifesto for a better future.
C s with Attack, I raised does not put forward a specific story. It is rather a collage of texts borrowed from thirty contemporary authors brought to the scene in a series of pictorial paintings that surprise, make fun, tenderize or whip. No narrative, therefore, but a strong thread and a progression towards a position on the need for commitment, a return to the collective, to be concerned about what will be passed on to future generations. Logical continuation of Attentat, I raise also resumes where the rereading of Antigone had left us in March on the stage of the Trident, in an invitation to the disobedience, to shake status quo.
In an elaborate stage environment, which still retains a nice twist, about twenty performers come alive to the show in a dynamic way, musically supported by the very skilful duo of musicians and singers that make up Mykalle Bielinski and Josué Beaucage. Also, welcome the idea of including a group of children in the troupe. The simple gestures they pose, their cute or touching presence and the interactions they have with adults highlight some central elements of the subject. The strength of the number makes its effect here.
Among the highlights of I rise, include two unpublished texts signed by Véronique Côté (delivered by Olivier Arteau) and Elkahna Talbi (slam by itself), which come together. Ariel Charest strikes a great blow by venturing into the words of Marjolaine Beauchamp ( MILF ), especially that his tirade, punctuated by a nod to Rage Against the Machine, is followed by a very beautiful and slow segment when from which the actors come to pick the children to make them cross the stage by holding them in their arms. An image of benevolence that gives meaning to the expression “bear the future”.
In a lighter radius, let Olivier Normand, who is literally fighting with his breakfast, boxing gloves with his fists and pronouncing his text with a mouth guard. The play also gives rise to a surrealist mingled press in flooded area or a hilarious exchange inspired by an IKEA catalog, declaimed with much too much intensity by Gabriel Fournier and Maxime Beauregard-Martin.
By varying the tones, Véronique and Gabrielle Cote (who sign the collage of texts and staging) dig their furrow and gradually bring us to a festive, inclusive, percussive finale: without revealing too much, let’s just say that it takes place at the sound of the words of the Solidary MP Catherine Dorion.
We come out of the exercise drunk, inspired and happy, with the crazy desire to plunge into the texts of all these authors here. True ambassadors of Quebec poetry, the Cote sisters have once again succeeded.
The show I lift myself is presented to the Trident until May 18th.