The excitement of the musical Tomorrow morning, Montreal waits for me, presented Wednesday night in the Maurice-O’Bready room, did not fail to meet the expectations of Sherbrookois. René-Richard Cyr, who adapted and directed Michel Tremblay’s classic, showed that the play only gets better with age.
C them who were seeking the nostalgia have done used the essence of the 1970s on a platter of gold.
The play ignited the Cultural Center of the Université de Sherbrooke in all its colors. The energy of the cast and the accuracy of the performance do justice to the personality and the stature of Tremblay’s work. The costumes, of a quality and a remarkable creativity, set the tone for each scene, taking part in the decoration in an important way.
The young Louise Tétrault (Marie-Andrée Lemieux), who lives in Saint-Martin in the countryside, decides to set foot in Montreal. Her win in a talent competition convinced her that she can break into the stage and song scene just like her older sister. The latter, who sings under the name of Lola Lee, worked hard to get to the top. She decides to show her little sister what Montreal’s show business really is . A world where prostitutes, gay dancers, transvestites, bitterness and a “disgusting” by the name of Johnny parade, opens rather to her in a flight of glitter.
The musical takes place on a smaller stage, which is adorned with a stylish pop arch. A curtain of removable fringes hangs there, a nice nod to the years in which the story unfolds. Behind, live games of shapes and colors, including kaleidoscope, appear on a circular screen. Sometimes a gateway brothel, sometimes scene of a competition of regional talent, the great arch guides the imagination to the various places of action. Nothing else was needed as a decorative element, even if only the metal tables and chairs of the time, or mother Tétrault’s rocking chairs. These, with a turquoise as bright as the ambitions of Louise, are also ingeniously reversed and used as bus benches at the next scene.
A strong character did not wait for the other. Hélène Bourgeois Leclerc’s Lola Lee has seduced the public since its appearance, with its confidence and casual attitude. Laurent Paquin in high heels, in the skin of The Duchess, has raised the applause of a notch with his melancholy interpretation of The Duchess’s Lamentations .
The original music of François Dompierre still arouses so many emotions, with his tragic solos or with the successful South American-inspired hits of Lola Lee. The voices mingle fluidly with the music, and the choirs make the room vibrate as well as they play their multiple roles.