“The clone is sad”: the chasm of generational

«Le clone est triste»: gouffre générationnel

Photo: Josée Lecompte
“Detectives worldly independent” (Guillaume Tremblay, Marie-Claude Guérin and Olivier Morin) don’t hesitate to make arrow-wood.

The Theatre of the Future does not seem nearly exhausted the vein of absurd humour rétrofuturiste, a register in which he has certainly given its letters of nobility with shows like Clotaire Rapaille, the rock opera, Epic north , and The secrets of the truth. These days, Olivier Morin, Guillaume Tremblay continue their inexhaustible enterprise of anticipation with The clone is sad, an adventure, to say the least hare-brained about the concept, slippery chasm of generational.

Planted at the end of the Twenty-first century, the room is the stage for a Quebec free of baby-boomers, the last specimens having been sent to the Moon after having been convicted of ” a crime against the Earth “. According to the UN, this gesture will allow the generation X, ” this crowd of old men just a bit younger “, they should ” start their life “. You said bitter ? In fact, the members of the Club of the Marquis are not followers of the language of wood. In their victorian parlor, which is not without evoking that of the board game Clue, the detectives worldly independent ” (Marie-Claude Guérin, Olivier Morin, Guillaume Tremblay) do not hesitate to arrow wood.

Their most recent survey, a sort of recital, carefully accompanied by the music of Turnip Confit and Philippe Prud’homme, punctuated by songs désopilantes, for Robert Cozy. The man in 184 years, which would have been used in the cloning, however illegal, would be the last of the baby boomers : “Even if it is the only representative of his generation, in his head, it still represents “the majority”. “

In pursuit of this man without morals, who have committed horrendous acts in order to survive, our brave detectives will launch out in an adventure without neither head nor tail, but highly pleasing, which will lead in places the most unlikely. These include the Montreal underground, where float ” the dummys Grevin of all the actors in the Decline of the american empire “, and TNB, Théâtre du Nouveau Beloeil, where we play What a mess !, “a théâtro-biography on the life of Joël le Bigot “.

You will have understood that the show deals less with the issues of transhumanism, as the delicate coexistence of the generations. In this portrait of society’s delusional, and sometimes downright cabotin, and yet strangely lucid, defended by actors in great form, everyone takes a beating, starting with the baby boomers, of course, but the representations of X, Y and Z are little more tender. Culture, politics, economy, environment, love, friendship, aging, and parentage… there is in this sweet madness a lot of material to think about.

The clone is sad

Text : Olivier Morin, Guillaume Tremblay. Directed by : Olivier Morin. A production of the Theatre of the Future. The Stables until 16 February.

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