Presskit

Antioch (2021)

WHEN AND WHERE / QUAND ET OÙ :

December / décembre 13, 14, 18, 19, 2021
On / Sur YouTube

Text / Texte : Sarah Berthiaume;
Translator / Traductrice : Iris Cronin;
Director / Mise en scène : Sophie El Assaad;
Choreography / Chorégraphie : Hoor Malas;
Stage Manager / Régisseur : Luciana Burcheri.

REVIEWS / CRITIQUES :

The Concordian : "Presented on YouTube, the work is also an exploration of new digital possibilities for live art creations. The result is a powerful immersive theatre reading that invites viewers to engage with the performance while being comfortably seated and wearing a pair of headphones."--Véronique Morin, 20 Dec 2021. More / Plus...

ARP Media : "The actresses know how to adapt their acting to make the emotion shine through a screen. The various animations also add rhythm and hold the viewer's attention. ...It's a success for this first digital experience signed Talisman Theatre."--Nancie Boulay, 14 Dec 2021. More / Plus...

LE CULTUREL 2.0 : "Talisman Theatre innovates by producing its latest creation ANTIOCH (Sarah Berthiaume) on YouTube in striking images and binaural sound. The director Sophie El Assaad tells me..."--Winston McQuade, 12 Dec 2021. More / Plus...

Habibi's Angels (2020)

WHEN AND WHERE / QUAND ET OÙ :

November 23 to December 5, 2020
La Chapelle Theatre

Streamed events : December 2nd, 6th, 27th, 2020 and January 2nd, 2021.

Text / Texte : Hoda Adra and Kalale Dalton-Lutale;
Dramaturg / Dramaturge : Josianne Dulong-Savignac;
Director / Mise en scène : Sophie Gee;
Choreography / Chorégraphie : Claudia Chan Tak.

REVIEWS / CRITIQUES :

MonTheatre : "Habibi's Angels: Commission Impossible highlights the fact that it is still difficult for a newcomer to integrate even though visible minority artists have become fashionable. While the play evokes the Law on State Secularism (Law 21), it does not claim to be a pamphleteer. It is just a tragicomic fable, a bit pungent, in which many female spectators and, why not, some male spectators will recognize themselves."--Nathalie de Han, 04 Déc 2020. More / Plus...

La Scena : "The actresses know how to adapt their acting to make the emotion shine through a screen. The various animations also add rhythm and hold the viewer's attention. ...It's a success for this first digital experience signed Talisman Theatre."--Nancie Boulay, 14 Dec 2021. More / Plus...

JEU Revue de théâtre : "...Sophie Gee's staging is inventive despite the social distancing, the four performers--to which are added Chadia Kikondjo, Aida Sabra, and France Rolland (Habibi's voice)--, frankly energetic, the scenography, simple and effective, the choreography by Claudia Chan Tak, quality, the use of video, very welcome, and the costumes by Sophie El Assaad, delirious. Their fun mix of multicultural motifs fused with a comic book aesthetic in a 'superhero Power Rangers' style is worth mentioning."--Mario Cloutier, 01 Dec 2020. More / Plus...

En Toutes Lettres : "In a society where a Tokenist Quebec government--making symbolic efforts to include minority groups in order to escape accusations of discrimination--refuses to acknowledge the existence of systemic racism, Habibi sheds a refreshing light."--Mario Cloutier, 26 Nov 2020. More / Plus...

CKUT Upstage : SOPHIE (Director) : "So here we have the Angels who are--you'll see from the video because I don't think we'll be able to perform it live in front of an audience--but they are a play on women of colour; they have super, super, super bright clothing on, and they are a visible minority, and they've been tasked as these superheroes by this unknown person, Habibi, to make a play, to capitalize on the fact that they are women of colour. ...And, actually, like, the character of Habibi is trying to get trauma porn."--Sarah Dehaies, 26 Nov 2020. More / Plus...

Spirale : "The voice of Hoda, whom I reached by phone on November 20, is joyful ... 'It's a meta-theatrical piece,' she sums up, at last. I immediately realize that, without realizing it, we were actually talking about the play throughout the interview. Because the show comes to ask the same question that nourished our exchanges: how to put forward alternative stories about Montreal, without art becoming number painting?"--Sarah-Louise Pelletier-Morin, 25 Nov 2020. More / Plus...

LeDevoir : "Sophie Gee, director of Habibi's Angels (Talisman Theatre), also takes things with perspective. ... 'I think we can all benefit from calming down, from living on a fallow land, from refocusing on processes rather than on their products. Let's use this time in the theatre as an additional residency, which is a great artistic luxury.'"--Catherine Lalonde, 21 Nov 2020. More / Plus...

Clean Slate (2019)

WHEN AND WHERE / QUAND ET OÙ :

March 18-30, 2019
La Chapelle Theatre

Text / Texte : Catherine Chabot in collaboration with Brigitte Poupart, Vicky Bertrand, Marie-Anick Blais, Rose-Anne Déry, Sarah Laurendeau and Marie-Noëlle Voisin;
Translator / Traduction : Jennie Herbin;
Translation Dramaturg / Dramaturge de traduction : Maureen Labonté;
Director / Mise en scène : Leslie Baker.

REVIEWS / CRITIQUES :

Theatre Funhouse : "The first-rate cast... give magnificently loose-limbed yet precisely executed performances, while Leslie Baker's fluid direction creates order out of the potential chaos of the boozy long day’s journey into night. ...What’s certain is that this is a beautifully staged ensemble piece that offers a refreshingly raw portrait of female friendship."--Jim Burke, Mar 26, 2019. More / Plus...

ARP.MEDIA : "The chemistry between the actresses zings. It feels like attending a real girls' dinner, witnessing real conversations. The directing is excellent. ...Clean Slate is a funny, moving and resolutely feminist work that speaks of friendship, feminine solidarity and unconditional love."--Nancie Boulay, Mar 25, 2019. More / Plus...

Théâtralités : "This incisive, hard-hitting, unrestrained dialogue of a 30-year-old author passes readily into English. ...Leslie Baker orchestrates a magnificent sextet of actresses who play Marie-Anick, Marie-Noëlle, Catherine, Vicky, Rose and Sarah as if the characters were written especially for them."--Yanik Comeau, Mar 24, 2019. More / Plus...

Le Culte : "Inside each character, we find a little pieces of ourselves, sketches of our hopes, our dreams and our anxieties ... Watching this play is the equivalent of looking into the other, to get along and maybe even better understand the other to better understand oneself, but also to understand more about those around us."--Alexane Anglehart, Mar 21, 2019. More / Plus...

Montreal Theatre Hub : "Honest and resolute, Clean Slate shines in English premiere: Good art is a splash of cold water on the face; it reinvigorates the viewer. ...Clean Slate is modern theatre at its best: timely and well-rounded. I cannot speak highly enough of Talisman’s latest production. The show runs until March 30th and you’d be foolish to miss it."--Andrew Sawyer, Mar 20, 2019. More / Plus...

CULT #MTL : "I thought to myself: these women are shrieking harpies. ...But, I realized I’ve spewed as much invective as a young woman. ...See Clean Slate with your girlfriends. Make sure to grab some wine before you head in."--Sarah Deshaies, Mar 20, 2019. More / Plus...

Arts et culture : "What would we do if we only had one night to live with our friends or our family? After all, it is a universal theme that deserves to be approached from different perspectives, and in this the text hits the mark. ...The scenography offers beautiful images and launches us on some tracks quite open to interpretation."--Thomas Duret, Mar 19, 2019. More / Plus...

Vic and Flo (2017)

WHEN AND WHERE / QUAND ET OÙ :

November / novembre 21-December / décembre 2, 2017
The Centaur Theatre

Original screenplay / Scénario original : Denis Côté;
Translation-Adaptation / Traduction-adaptation : Michael Mackenzie;
Director / Mise en scène : Michael Mackenzie.

REVIEWS / CRITIQUES :

Culture Plus : "I found the play to be enjoyable, well acted and well written. It engaged my attention throughout. The characters showed depth and were superbly interpreted..."--Sylvain Richard, November 26, 2017. More / Plus...

Le Culte : "The four actors managed to bring intense emotions through their superb talent, not to mention the sound effects and visuals that brought their share of success to the play."--Sandrine Vieira, November 26, 2017. More / Plus...

Pieuvre.ca : "This intimate thriller, original and sylvan, leaves a strong impression and contains sublime parts of shadows and lights to discover."--Nathalie Lessard, November 27, 2017. More / Plus...

Wesmountmag.ca : "I must admit that the leisurely artistic pace of the first third of Vic & Flo seemed somewhat achingly slow, but it was paced beautifully to match the unfolding developments."--Byron Toben, November 27, 2017. More / Plus...

Nevro'sArts : "In his adapatation, Michael Mackenzie has not only translated the text well, but also captured the ambivalent atmosphere that is so characteristic of Côté`s work."--Jonathan Duchesne, November 26, 2017. More / Plus...

SÉQUENCES : "Micheal MacKenzie comes out the winner in this enterprise, with his discipline, sense of dark humor, and the skill to succeed..."--Élie Castiel, November 24, 2017. More / Plus...

Yukonstyle (2016)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 13-29, 2016
La Chapelle Theatre.

Text / Texte : Sarah Berthiaume;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Geneviève L. Blais.

REVIEWS / CRITIQUES :

The Montreal Gazette : "...this is a striking, often richly imaginative play, skilfully directed by Geneviève L. Blais."--Jim Burke, October 14, 2016. More / Plus...

Mtl Rampage : "I cannot get enough of this type of theatre. The production is slick but not distracting, the actors are as solid as a brick house and the gaze is unflinching on the realities that they are dealing with. It is gutsy, challenging yet accessible, and deeply unforgiving work. I felt vulnerable at the end of this. It deserves to be widely seen. Talisman Theatre, I salute you."--Angela Potvin, October 15, 2016. More / Plus...

Westmount mag : "This play has drawn praise in Toronto and Europe. I would recommend it..."--Byron Toben, October 14, 2016. More / Plus...

Theatre Hub : "...Maintaining its mandate of adapting contemporary French Quebec plays to the English stage (credits to translator Nadine Desrochers for preserving the lyrical quality of Berthiaume’s script), Talisman Theatre is to be commended here for providing a voice for the people of the First Nations and bringing their issues front and centre. Yukonstyle is overeager to simultaneously emote, entertain, and educate... Yukonstyle succeeds in embracing and exploring relevant issues of identity, diversity, and multiculturalism. More vitally, it illustrates the impact of the national tragedy of Canada’s murdered aboriginal women, blowing the whistle on a system that has failed to protect them and on a onlooking society that has left the native community to fend for itself in the most hostile and unforgiving of conditions. Above all, it ignites essential conversations on our search for roots, how we cope with loss, and our glaring need for human connection and intimacy."--Camila Fitzgibbon, October 19, 2016. More / Plus...

MATTV : "... Larger than life , la devise yukonaise acquiert un sens inédit dans cette pièce de Sarah Berthiaume, qui s’est inspirée de personnages réels qu’elle a croisés lors d’un séjour dans ce territoire où le mercure chute à moins 45 ˚Celsius. À travers des dialogues crus et des monologues poétiques, l’auteure exprime la résilience de personnages sensibles qui se protègent d’abord d’eux-mêmes dans cet environnement aride. ...Lors de sa création en 2013, Yukonstyle a été présentée simultanément à Montréal, au Théâtre d’Aujourd’hui et à Paris. Une tournée a ensuite mené la pièce sur les scènes de Toronto, Innsbruck, Bruxelles et Heidelberg. Cela confirme le talent de l’auteure pour l’écriture de pièces aux thèmes universels..."--Sébastien Bouthiller, October 14, 2016. More / Plus...

Concordia Link : "Berthiaums's Yukonstyle provokes audiences by giving them a glimpse of what the harrowing final moments of Pickton's vicims might have looked like through Garin's narrative. [...] Some members of the audience cried, as the fictional scence came close to reality."--Joshua De Costa, October 18, 2016. More / Plus...

Un fauteuil pour l’orchestre : "Yukonstyle c’est faire la découverte d’un texte puissant signé Sarah Berthiaume, dramaturge québécoise, ici magnifiquement traduit en anglais par Nadine Desrochers. Un texte glaçant, au verbe qui s’articule dans la buée d’un hiver éternel, mais qui envers et contre tout réchauffe les esprits... Portée par quatre acteurs brillants, la mise en scène de Yukonstyle se confond avec la photographie d’un film.... cette adaptation anglaise, parfaitement limpide pour les non-anglophones, nous dérange, nous amuse tant qu’elle nous fait peur. La compagnie du Talisman Theater a parfaitement trouvé le dosage entre l’humour, la noirceur, et le militantisme théâtral, signant une mise en scène forte et sensible."--Jean Hostache, October 21, 2016. More / Plus...

Sorstu.ca : "Évoluant entre trois structures de maisons mobiles pour tout décor (conçu habilement par Lyne Paquette), l’histoire de Yukonstyle est aussi banale que criante de vérité....Quatre comédiens d’horizons différents (Toronto, Collège Dawson à Montréal, Nord de l’Ontario, Université de la Saskatchewan, Réserve Blackfoot du Sud de l’Alberta) défendent le texte avec beaucoup de conviction. On voit tout de suite qu’ils ont été bien dirigés par Geneviève L. Blais... Yukonstyle est mue par une grande force de survie devant les revers de vies sacrifiées, une force admirablement transposée sur cette scène de La Chapelle."--Gilles G. Lamontagne, October 20, 2016. More / Plus...

Bible Urbaine : "Certains mécanismes dans la mise en scène de Geneviève L. Blais sont plutôt inventifs... le temps file sans que le spectateur s’ennuie. La traduction de Nadine Desrochers du texte original de Sarah Berthiaume est très fluide, et la mission du Talisman Theatre est noble: faire découvrir la dramaturgie francophone à un public anglophone. Les quatre comédiens offrent des interprétations dans le ton, mais on n’a d’yeux que pour Justin Many Fingers, avec sa combinaison de stature et d’intensité, qui semble plus grand que nature. Rarement a-t-on vu un comédien transmettre aussi justement un immense tourment interne."--Pierre-Alexandre Buisson, October 23, 2016. More / Plus...

Me and You (2016)

WHEN AND WHERE / QUAND ET OÙ :

May / mai 18-21, 2016
M.A.I. (Montréal, arts interculturels)

Text / Texte : Talia Hallmona and Pascal Brullemans;
Translator / Traduction : Alison Bowie;
Director / Mise en scène : Arianna Bardesono;
Dramaturg / Dramaturge : Ülfet Sevdi;
Translation Dramaturg / Dramaturge de traduction : Louis Patrick Leroux.

REVIEWS / CRITIQUES :

Culture plus : "The translation works well and shows that the questions of integration and identity affect everyone universally. We are all in one way or another faced with integrating into society and discovering who we really are. The chemistry between the two principle characters was emotionally engaging. The performance and dramaturgy was A1."--Sylvain Richard, May 20, 2016. More / Plus...

Westmountmag.ca : "The set .. was essentially bare, with many light bulbs hanging or standing on steps, lending a vaguely surreal quality to the whole... The whole is ably directed by NTS grad and teacher Arianna Bardesono, herself from Italy years ago."--Byron Toben, May 20, 2016. More / Plus...

Patwhite.Com : "This sensitive interpretation of uprooting is amplified by the staging, as sleek as poetic."--Alice Caron, May 21, 2016. More / Plus...

Theatre HUB : "Me and You pulls at the heartstrings in playing themes of belonging, acceptance, and connection."--Camila Fitzgibbon, May 20, 2016. More / Plus...

cultMontreal : "Sincere acting, original and minimalist usage of space, props and costumes, the two young protagonists fills the theatre with realist magic while urging us to ponder the deeper meanings of our sense of self and that of others."--Edit Jakab, May 20, 2016. More / Plus...

Bible Urbaine : "The minimalist staging by Arianna Bardesono takes us to the heart of a story of initiation or even a autofiction deeply sensitive and the reality of a growing number of 'new' Quebec."--Charlotte Mercille, May 21, 2016. More / Plus...

Mtl Rampage : "The actors were very good and Miriam Katrib managed to convey the confusion and pathos of the immigrant first generation with tremendous energy. Kathleen Stavert gave and outstanding performance as the Quebecois girl who befriends Talia, and tries to teach her in one of the most comic scenes how to attract French boys."--Anna Fuerstenberg, May 20, 2016. More / Plus...

Province (2015)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 7-17, 2015
The Centaur Theatre.

Text / Texte : Mathieu Gosselin;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Stacey Christodoulou.

REVIEWS / CRITIQUES :

The Concordian : "If you’ve never been lost in the depths of the wild forests of Quebec, then Province--a new play staged at the Centaur Theatre--would have been the perfect way to feel like you were. ... It was a hauntingly beautiful piece. It was eerily unpredictable and somewhat confusing--just what you would expect from a dystopian drama which features mutant animals."--Julia Bryant, October 20, 2015. More / Plus...

Student Group Leader : "Un énorme bravo, tout d'abord à Stacey, chaque élément de la scène est qualitativement et conceptuellement très bien articulé. Les personnages font un lien efficace entre le monde surréel de la pièce et un ancrage nécessaire avec notre société fragmenté et narcissique. Si j'ajoute le temps que vous tous avez eu pour monter cette pièce j'en suis vraiment impressionnée. La pièce habite un univers très loin du mien, mais hier soir j'ai apprécié cet déplacement ailleurs."--Arianna Bardesono, October 20, 2015.

Mountain Lake PBS : "Province’s tragic ending helps examine the tremendous resilience of human beings in the face of adversity and offer spectators the chance to reflect upon and contemplate the impact we humans currently have on nature and the uncertainty of our own future with a visionary theatrical approach."--October 20, 2015. More / Plus...

Westmountmag.ca "The critters and revengeful forces are never seen but heard, ethereally voiced off stage by Tristan D. Lalla. Lots of talented local actors in this one."--Byron Toben, October 20, 2015. More / Plus...

Re:Stage Reviews : "...What the show excels in is the atmosphere of it all ...this sense of impending doom."--nic and emily, October 20, 2015.

Student Group Leader : "I must say this was one of the best plays I have ever seen at The Centaur. My students and I couldn't stop laughing throughout the play (especially when the 'plastic' couple made their appearance). ...It was absolutely excellent and a clear message was delivered through the play. ...Overall, well written, acted and well worth a standing ovation."--Lisa Trotto, October 20, 2015.

The Gazette : "Like a Jacobean revenge tragedy of the future, Mathieu Gosselin’s end-of-the-world play Province climaxes with the stage littered in corpses. ...There’s something Jacobean also in Gosselin’s bold use of poetic language, translated here by Nadine Desrochers, and in its wild lurches from the deadly serious to the grotesquely comic."--Jim Burke, October 9, 2015. More / Plus...

Bible Urbaine : "Sur fond de dystopie écologique, la large distribution livre une performance impeccable qui en dit long sur la nature profonde de l’être humain et son pouvoir d’autodestruction."--Charlotte Mercille, October 20, 2015. More / Plus...

The Medea Effect (2015)

WHEN AND WHERE / QUAND ET OÙ :

February / février 3-7, 2015
Segal Center Studio

Text / Texte : Suzie Bastien;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

MTLBlog : "The Medea Effect slowly builds on its dark tones and moods until finally brought to the bone-chilling climax, effectively drawing the audience into the very depths of the characters’ inevitable unhinging. Everyone, from actor to viewer alike, is left marked, as though they’ve just barely managed to come out the other side."--Synden Hope-Johnston, February 5, 2015. More / Plus...

SÉQUENCES : "Si l’on en juge par le poids éloquent des mots, la psychologie incontestablement humaniste des réparties, la teneur vigoureuse du propos et la force des échanges entre deux êtres à la recherche d’une âme, la traduction de L’Effet Médée, de Suzie Bastien, par Nadine Desrochers, est un tour de force admirable."--Élie Castiel, February 4, 2015. More / Plus...

Revue Roverarts : "If the plot of The Medea Effect sounds familiar--mysterious actress turns up to audition for formidable female role, confounds male director's intitial scepticism... Ives also brought classical myth crashing into the quotidian world with spectaular results, conjuring up an almighty Aphrodite to crush male presumption under her stiletto heel. (For the record, Bastien’s play predates Ives' by several years)."--Jim Burke, February 3, 2015. More / Plus...

Billy (the days of howling) (2014)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 14-25, 2014
La Chapelle Theatre

Text / Texte : Fabien Cloutier;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

The Gazette : "Cloutier's flamboyantly overwritten play sends out a shrapnel bomb's worth of witty, piercing social commentary."--Pat Donnelly, October 17, 2014. More / Plus...

Le Devoir : "Un Billy sur la barrière linguistique des préjugés."--Fabien Deglise, October 17, 2014. More / Plus...

Sors-tu? : "Une oeuvre drôle, dérangeante et actuelle."--Cléo Mathieu, October 17, 2014. More / Plus...

The Suburban : "The audience loved this beautifully written and well-acted play in a quaint theatre I had never been to before."--Mike Cohen, October 15, 2014. More / Plus...

The Gazette (preview) : "Billy (the days of howling) is one of those rare plays that focus on the parenting of small children. 'It's about people who rush to judgement', Cloutier said. [...] 'The idea arrived one day when I arrived at the garderie. I wtnessed an event that pushed me to judge someone else. But I was wrong'."--Pat Donnelly, October 9, 2014. More / Plus...

Le Devoir (preview) : "Quote"--Alexandre Cadieux, October 11, 2014. More / Plus...

The Aeneid (2014)

WHEN AND WHERE / QUAND ET OÙ :

March / mars 6-15, 2014
La Chapelle Theatre

Text / Texte : Olivier Kemeid;
Translator / Traduction : Judith Miller;
Director / Mise en scène : Zach Fraser.

REVIEWS / CRITIQUES :

Rover Arts : "Ancient epic relevant, fascinating, moving."--A. Furstenberg, March 8, 2014.

Le Devoir : "Marionnette en exil."--Christian St-Pierre, March 8, 2014. More / Plus...

Info-culture : "THE AENEID, flash sur le monde."--Julie Cler, March 9, 2014. More / Plus...

The Gazette : "Puppets guide The Aeneid's epic voyage--Virgil's classic tale of a man in search of his homeland still has meaning today."--Katheryn Greenway, March 8, 2014.

Cinq a six (CBC) : "'The Aeneid : Exploring the refugee experience... with puppets'. This week's show is all about outsider storytelling, and how the sense that you don't belong to the mainstream can make for some powerful artistic statements."--Jeanette Kelly, March 8, 2014--Author, Date. More / Plus...

The Medea Effect (2012)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 11-20th 2012
La Chapelle Theatre

Text / Texte : Suzie Bastien;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

The Gazette : "Suzie Bastien's The Medea Effect, however, is an exception. It's contemporary and universal, inspired by Pirandello as well as Euripides. And it offers terrific acting opportunities to a mature woman who knows how to command the stage and a younger man who knows how to hold his own against her. [...] This is actor's theatre (with director Tibaldo as rigorous coach) that hits the motherlode of gravitas required for tragedy. Morehouse is a marvel. Catharsis delivered. Bravo!"--Pat Donnelly, October 18, 2012. More / Plus...

Westmount Examiner : "The Medea Effect shimmers with the sparks and flashes of profound insight penned over two thousand years ago but refracted and focused through a contemporary lens."--Author, October 18, 2012.

The Gazette (preview) "Talisman Theatre actually specializes in producing English translations of French-language works. Its mandate is to bring 'the visceral intensity of Québécois theatrical practices to non-francophones.' [...]The Medea Effect is little known in francophone Montreal, having only been produced in French in Quebec City, directed by Marie Gignac, in 2005. [...] Thus Talisman, which was founded in 2005 by Emma Tibaldo and current artistic director Lyne Paquette, is encouraging Montreal audiences to embrace a playwright (Bastien) who is respected in Quebec literary/theatrical circles--and in Europe--but hasn't yet found her place on Montreal stages."--Pat Donnelly, October 18, 2012.

Cult#MTL : "Talisman Theatre's The Medea Effect... is a play that sticks the knife in and twists. ...Nadine Desrochers' seamless translation affords English-speaking audiences access to this dark tale, and makes The Medea Effect a profound example of the cultural experience Talisman offers to the theatre-going community of Montreal."--Emma Overton, October 16, 2012. More / Plus...

Voir Montreal : "C'est le théâtre dans le théâtre. La démonstration que le théâtre influence des vies. Voilà qui est très intéressant. Deux personnages, Ugo et Ada reconnaissent l'effet de Médée sur eux. Suzie Bastien offre un texte riche, très humain. Une belle matière pour des comédiens de talent. Jennifer Morehouse (Ada) impressionne par la profondeur de son jeu. Elle porte sur ses épaules tous les malheurs, toutes les douleurs, toutes les blessures qui ont marqué son personnage, Morehouse a une très forte présence sur scène, présence à laquelle Eloi ArchamBaudoin (Ugo) répond de belle façon par un jeu énergique et nuancé."--Bernard Wheeley, October 18, 2012.

Bloody Underrated : "Deceptively, the show appears at first to be a rudimentary allegory... instead, the play addresses these expectations dead on, and then continues to slowly unravel the layers of cliches and simplistic explanations. ... This transition towards the intimate and personal is represented through a shift from naturalistic dialogue to highly stylized and expressive movements, due in no small part to some achingly beautiful sound and lighting design by Matthew Waddell and David Perreault Ninacs. ... This is a polished piece that reaches profound levels of psychological complexity. ... That said, it's an innovative professional show with great performances, and one that makes use of all the elements in its theatrical toolbox."--Daniela Smith Fernandez, October 18, 2012.

Lois Brown : "I don't think there have been any reviews yet - but here are some from people who have seen it "C'était une magistrale première!", "ce texte incroyable", "Haunting" and from me: "A tough, and lyrical rendering of an intense text." Talisman's work with translation is rigourous, yet Emma and Lynn bring a singular and strong aesthetic to the text. And the exploration is new. Important work - important to see."--Lois Brown, October 18, 2012.

Charpo-Canada : "Emma Tibaldo has never been shy when it comes to her thoughts on Medea, the famed murderess of Greek myth. 'She's always been a hero to me,' says the artistic director of Playwrights Workshop Montreal, one of Canada's longest-running play development centres. It's a bold statement, given that Medea murders her own children to enact revenge on a faithless husband. But Emma Tibaldo sees it as something more then just an act of infanticide. 'She's a hero to me because of her willingness to do something extra-ordinary to get justice.'"--Joel Fishbane, October 18, 2012.

Hannah Liddle : "Fortunately the lights were off and no one was looking at my face, or they would have seen a gaping mouth and furrowed brow. I was on the edge of my chair and I couldn't help it, only changing my position once to kick my coffee over and receive a look of disdain from the guy next to me. [...] I could hardly wrap my head around the play without wanting to burst into tears. Likely, that sense of overwhelming is the effect of Medea, and I only became one of her many subjects."--Hannah Liddle, October 18, 2012.

Rover Arts : "The play Medea has always been problematic; it involves betrayal of epic proportions and tragedy that is earth shattering. ...But Jennifer Morehouse gives an amazing performance..."--Anna Fuerstenborg, October 18, 2012.

@cbcdaybreak : "TIBALDO: "It is an extraordinary story! Suzie Bastien allows us to accept the unacceptable through this play. She makes us understand why this woman does what she does and she also makes us understand why we are so fascinated with Medea. Also, from a Director's point of view: Why is this story so important? Why do we choose to go see it? Why do we like to see a trainwreck? Why do we want to find out the horrible things about humanity? What is it that drives us to that point? And once we have the information: What do we do with it? What do we do with that emotional catharsis? Where do we go with the pain that we carry when we find out about these stories?"--@kellyculture, October 18, 2012.

The Gazette (preview) : "Meanwhile, Talisman Theatre launched The Medea Effect, a Quebec take on Medea by Suzie Bastien, translated into English by Nadine Desrochers, Thursday, Oct. 11 at Théâtre La Chapelle. ...The Medea Effect is a deconstruction of the Greek play, twice removed by translation..."--Pat Donnelly, October 18, 2012.

Le Messager Verdun : "C'est la première fois de la Verdunoise [Jennifer Morehouse] foulera les planches avec la compagnie Talisman Theatre. Cette dernière a travaillé en télévision, théâtre, cinéma et doublage de films d'animation depuis une vingtaine d'années. Elle a obtenu plusieurs nominations au cours de sa carrière, en particulier du côté du théâtre, incluant une citation pour le prix Dora et deux pour le prix Betty Mitchell."--Francois Nadeau, October 18, 2012.

Coma Unplugged (2011)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 20-29, 2011
Studio Jean Valcourt, Conservatoire d'art dramatique et de musique

Text / Texte : Pierre-Michel Tremblay;
Translator / Traduction : Micheline Chevrier;
Director / Mise en scène : Zach Fraser.

REVIEWS / CRITIQUES :

The Gazette : "Fraser and company have tuned in to Tremblay's wacky wavelength in a way that makes Coma Unplugged hilarious as well as timely, intelligent and provocative. [...] At about one hour and 45 minutes, Coma Unplugged could use some trimming. But make no mistake: Talisman Theatre has a hit on its hands. Get your tickets now."--Pat Donnelly, October 21, 2011. More / Plus...

The Concordian : "Talisman Theatre's new production is "hilarious and poignant... ArchamBaudoin deftly handles the embittered Daniel... Braganza summons Marjorie's desperation, rage and frustrated love with ease, burning brilliantly... Glover gives a flawless performance as a doting, talkative mother... Chimwemwe Miller gives a solid performance... The hilarity of Donovan Reiter's character belies a wounded, frustrated divorcee... Perhaps most notable is the elaborate set designed by Lyne Paquette. ...Coma Unplugged is a contemporary jewel."--Pat Case, October 26, 2011. More / Plus...

RoverArts : "The acting was flawless. Eloi Archambaudoin was riveting as Daniel. ...Glenda Braganza was spectacular as Marjorie and her performance made the play come alive. ...Susan Glover gets comedy, and ...was manic to within an inch of credibility and understood with great instinct the need for 'set up and delivery'. ...Chimwemwe Miller had the thankless part of Ishouad, the Twarek [sic] warrior, but his physical presence was enormously charming and worth watching. ...Donovan Reiter ... played his macho gazpacho part with great energy. ...The set was terrific ...Furthermore, the lighting and sound were great and the costumes worked very well. ...Talisman should be congratulated for their efforts, especially on the fantastic cast."--Anna Fuerstenberg, October 21, 2011.

PLEIN ESPACE : "L'équipe de Talisman Theatre propose somme toute une production respectueuse de la vision de l'auteur. Tremblay suggérait que l'action se déroule dans l'appartement de Daniel, un décor « pas réaliste, plutôt cubiste, surréaliste en point de fuite, post-traumatique, petitement apocalyptique », proposition que l'équipe de concepteurs respecte à la lettre. Le décor, une structure imposante et anarchique, permet des entrées en scène surprenantes et comiquement inusitées. Le détail des accessoires et des costumes est réjouissant, travaillé avec le souci évident de créer un univers « cohérent avec l'inconscient de Daniel Martin », selon la sommation de l'auteur."--Marilou Craft, October 21, 2011.

Citeeze Montreal : "It's a terrible thing to watch a mind go to waste. Yet Pierre-Michel Tremblay's Coma Unplugged makes it so infectiously fun... Talisman Theatre's latest production is proof that when you mix a sharply written script with a cast whose energy knows no bounds, magic occurs. [...] Coma Unplugged makes the most out of its discombobulation. The voyage through Daniel's fracturing mind is one fraught with side-splitting laughter and deep introspection: in other words, a perfect night out."--Chris Liu, October 21, 2011.

McGill Tribune : "It's a terrible thing to watch a mind go to waste. Yet Pierre-Michel Tremblay's Coma Unplugged makes it so infectiously fun... Talisman Theatre's latest production is proof that when you mix a sharply written script with a cast whose energy knows no bounds, magic occurs. [...] Coma Unplugged makes the most out of its discombobulation. The voyage through Daniel's fracturing mind is one fraught with side-splitting laughter and deep introspection: in other words, a perfect night out."--Chris Liu, October 21, 2011.

Voir.ca : "'Am I a failure?' Voilà la question existentielle à laquelle doit répondre Daniel Martin (Éloi ArchamBaudoin) avant de décider de revenir ou non à la Vie. ...Je m'en voudrais de passer sous silence la superbe prestation D'Éloi ArchamBaudoin. ...Ayant vu les deux versions de Coma Unplugged, je peux affirmer que celle-ci m'a davantage amené au coeur du drame. J'ai bien apprécié. On peut le dire sans crainte, « this show is not a failure »."--Bernard Wheeley, October 21, 2011.

The Charlebois Post (Canada) : "Director Zach Fraser sees breaking the boundaries of reality as an opportunity to present a story both comic and potentially tragic. [...] A reflective play with more depth than we would initially expect - humourous with an underlying edge - touches on meaningful issues without hitting you over the head with a message. [...] Kudos to Éloi ArchamBaudoin for eloquently embodying the role of Daniel Martin.--Estelle Rosen, October 26, 2011. More / Plus...

Bloody Underrated : "From the moment I walked into the room, I loved what I saw. Lyne Paquette did a great job with this set... This space was used incredibly well throughout the play... They put on a great show, brought huge amounts of energy to the room, and made this 95 minute play feel like it took place in about 20. ...Tickets are 25$... and they're definitely worth every penny. This is one of my favourite plays of the year, easily, and I hope you all go see it."--Al Lafrance, October 21, 2011.

Thanks to @gcharlebois and @CharPoCanada their Tweets: "Review: Coma Unplugged, gorgeous play with magnificent lead actor"; "Review: (Montreal) Coma Unplugged - brilliant lead actor in this mix of reality, dreams and imagination".

The Flood Thereafter (2010)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 14-23, 2010
La Chapelle Theatre

Text / Texte : Sarah Berthiaume;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

Maurice Podbrey : "The whole production was delightful--a thoroughly enchanting evening. The playwright has achieved something rarely seen in the English language theate--a story told in magical terms and brilliantly excecuted by the director and designers and the performers. My sincere thanks to all."--Maurice Podbrey, October 20, 2010.

The Suburban : "Few fairy tales are inspired by small town strip clubs but when playwright Sarah Berthiaume was on a recent road trip, this is exactly what happened. ...Despite being a fantasy on the surface, Tibaldo says the aim of the play is to deal with real world issues. '[I'm trying to] begin a conversation about what stripping means to women, to the world, to men and how we deal with it,' she says."--Walter J. Lyng, October 20, 2010. More / Plus...

Orcasound : "The set, designed by Lyne Paquette was extremely interesting visually. On its own, it looks like the broken hull of a shipwreck, with the different pieces representing different locations in town. The floor was scattered with kelp-like 'wigs' that Homer's wife, Penelope (Felicia Shulman) was often working on in the background, and that June would pose with when she stripped."--Thea, October 20, 2010. More / Plus...

The Concordian : "Production company Talisman Theatre specializes in bringing Québécois theatre to the anglophone stage. The show is more risqué than most English productions, and definitely not for those shocked by nudity, both male and female. However, the nudity is never gratuitous and unnecessary; it emphasizes the themes of the mystical show, which is well worth a look."--Val Cardinal, October 19, 2010 More / Plus...

Blog : "Je reviens du spectacle The Flood Thereafter ému, touché par cette fable de Sarah Berthiaume magnifiquement bien traduite par Nadine Desrochers, qui a eu l'intelligence de laisser, ici et là, du français dans les moments les plus touchants. J'y ai vu trois superbes comédiennes : Amélia Sargisson, Catherine Colvey (magique) et Felicia Shulman. Les comédiens masculins ont également bien joués."--Bernard Wheeley, October 20, 2010.

Kent Stetson : "What's the syndrome where people faint in front of great paintings? You knocked me completely off-kilter. Again. Beautiful direction... note/tone/colour perfect. Great lighting. And fabulous seaweed. Loved the human/bird/fish/ship-rib set."--Kent Stetson (Kent received the 2001 Governor General's Literary Award for The Harps of God and was appointed to the Order Of Canada in July 2007.), October 20, 2010. More / Plus...

Midnight Poutine : "It may take a long time for this story to feel like a fairy tale, but once the magic kicks in you'll be held in a mermaid's snares until the end."--Amie, October 16, 2010. More / Plus...

The Hour : "Twisted fairytale meets feminist theory in a fishing village on the lower St-Lawrence River where all the women have been driven away..."--Robyn Fadden, October 20, 2010.

The Hour : "Post-modern and poetic, Sarah Berthiaume has weaved an oddly compelling and maddening scenario that is as murky and bold as the wildest fisherman's tale. Much of the play's intent is revealed between the lines and the ta-da moment, when everything suddenly made sense, didn't hit me until hours after."--MJ Stone, October 16, 2010. More / Plus...

CTV : "The Flood Thereafter adds class to small-town strip bars when it equates the dancers with mermaids and how both know how to entrance a man."--Christine Long, October 20, 2010.

Le Quatrième : "Avec Le Déluge après, Sarah Berthiaume interroge de mythologie la féminine identité, dans une iconoclaste tragicomédie métaphorique et poétique bien d'aujourd'hui."--Yves Rousseau, October 17, 2010. More / Plus...

Montreal Theatre Guide : "[It] is way out there as a modern-day fairytale, delightfully so, opting out of the usual cookie-cutter good versus evil ideology typical of the folktale genre."--Evelyn Reid, October 16, 2010. More / Plus...

The Gazette : "This reviewer is not a fan of staged poetry, with exceptions made for the likes of William Shakespeare, Dylan Thomas and Carson McCullers. Few writers can write a good play and good poetry at the same time. Berthiaume, a recent theatre school graduate, has certainly made a game try. She has a flair for imagery and lyricism."--Pat Donnelly, October 21, 2010. More / Plus...

The Gazette (preview) : "Talisman Theatre was born to build bridges. Its mandate is to introduce new French-language Quebec plays to anglophone audiences via translation. [...The Flood Thereafter] tells a tale inspired by the sad and sordid reality of women who work in Quebec's numerous small-town strip bars. [...] The Flood Thereafter, however, doesn't deal in strip-bar realism. [...] In The Flood Thereafter, June, the exotic dancer who makes men weep, is part mermaid."--Pat Donnelly, October 15, 2010. More / Plus...

Rover Arts : "The play is reminiscent of a Shakespearian romance--those strange plays that exist somewhere between comedy and tragedy--and so it is appropriate that the text seesaws between heightened poetic language and rougher, more colloquial prose."--Alex Woolcott, October 16, 2010. More / Plus...

Rock, Paper, Jackknife... (2009)

WHEN AND WHERE / QUAND ET OÙ :

October / octobre 6-17, 2009
Centaur Theatre, Brave New Looks

Text / Texte : Marilyn Perreault;
Translator / Traduction : Nadine Desrochers;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

ACQT : We are pleased to announce that our English-language premiere of Marilyn Perreault's Rock, Paper, Jackknife... translated by Nadine Desrochers, has been nominated for the 2009 ACQT prize in the category 'Théâtre anglophone.' October 25, 2009. More / Plus...

John Abbott College : "Recently, I took a group of my theatre students to see Rock, Paper, Jackknife.... This play presents us a difficult, disturbing and beautifully poetic text, as Perreault attempts to create a new hybrid language for her characters to traverse the labyrinth of their dysfunction. In the discussing the play in the subsequent week in class, the students grappled with how the author is asking us to question the very nature of language, and--even though the play was set in a nebulous time and place--she is making a comment on a volatile political and cultural topic that affects each of my students' daily lives. I was once again struck how vital a medium theatre is to our society."--Andrew Cuk, October 25, 2009.

The Hour : "The world is full of people who spend their time quietly doing amazing things. ...Emma Tibaldo is one of these subtle superheroes. ...Leaping building-sized themes is what theatre does best, but Rock, Paper, Jackknife... goes even further. The script stretches language itself by twisting grammar and using words in unconventional ways. The result is a more visceral and innocent form of expression."--Brett Hooton, October 1, 2009 More / Plus...

The Gazette : "Over 32 days following the arrival of the stowaways, everyone descends deeper and deeper into Arctic hell, within a beautifully designed, corrugated metal shack that doubles as a classroom and a living space. ...the performaces are admirably ernest and energetic. Manning and Davis, in particular, are often riveting."--Pat Donnely, October 14, 2009. More / Plus...

Rover Arts : "This is a play which goes to a very dark place in human experience and it resonates with the worst and most savage results there. It is an edgy and very postmodern work which challenges the audience to follow the drama down to its horrible conclusion. It was Lord of the Flies on ice with alcohol and glue sniffing thrown into the mix."--Anna Fuerstenberg, October 12, 2009. More / Plus...

The Concordian : "Rock, Paper, Jackknife... ...will have you twisting in your seat as playwright Marilyn Perreault explores the perversion of the human mind and the extremes it is capable of ...the play has a profound message about solitude and the human mind. Originally written in French, the play is masterfully translated by Nadine Desrochers and well directed by Emma Tibaldo."--Enrico Quilico, October 13, 2009. More / Plus...

Down Dangerous Passes Road (2008)

WHEN AND WHERE / QUAND ET OÙ :

November / novembre 6-15, 2008
La Chapelle Theatre

Text / Texte : Michel Marc Bouchard;
Translator / Traduction : Linda Gaboriau;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

ACQT : We are pleased to announce that our English-language premiere of Michel Marc Bouchard's Down Dangerous Passes Road, translated by Linda Gaboriau, won the 2008 ACQT prize in the category 'Théâtre anglophone.'--October 25, 2009. More / Plus...

AQCT : "D'une appréciable sobriété, ce spectacle s'appuyait avant tout sur le jeu de l'acteur. Graham Cuthbertson, Marcelo Arroyo et Patrick Costello ont livré des interprétations sensibles et nuancées. Dans une scénographie aussi dépouillée qu'évocatrice, le moindre de leurs déplacements était chargé de sens. En se mesurant dans la langue de Shakespeare aux auteurs francophones contemporains du Québec, et qui plus est avec doigté, le Talisman Theatre pourrait bien contribuer à réunir les deux solitudes."--Christian Saint-Pierre (President), November 03, 2009. More / Plus...

The Gazette : "Talisman Theatre won the Anglophone Theatre Prix de la critique award of the 2008-2009 season for its production of Michel-Marc Bouchard's Down Dangerous Passes Road, directed by Emma Tibaldo at Théâtre La Chapelle. It prevailed over Wajdi Mouawad's Scorched and Bryden MacDonald's With Baited Breath, both seen at Centaur Theatre."--Pat Donnely, November 03, 2009.

The Gazette : "As automobile accident plays go, Michel Marc Bouchard's Down Dangerous Passes Road rises above, into the ethereal. And the Talisman Theatre production of this poetic work, translated into English by Linda Gaboriau... does an admirable job of bridging the cultural gap that often hinders French-language Quebec plays from making a smooth transition into English [...] With this kind of play, less is more when it comes to staging. Lyne Paquette's set, which consists of giant sheets of parchment, with words scrawled in longhand, is just right. These 'pages' serve as screens for cinematic images that enhance the intense dramatic confrontations. In some ways this modest effort outshines the original French production... [...] Director Emma Tibaldo has delivered a meaningful introduction to a lesser work by the playwright..."--Pat Donnely, November 14, 2008. More / Plus...

Le Devoir : "..."--Alexandre Cadieux, November 13, 2008. More / Plus...

Blog : "Dealing with mortality is an incredibly emotional experience; the use of language, imagery, physicality, and poetry delivered throughout the play is raw, forcing the audience to live through this experience with them. [...] three powerhouse performances are delivered... This is a powerful text and character-driven production; no need for any tricks or treats here."--Davyn Ryall, November 10, 2008. More / Plus...

Rover Arts : "Watching the clash of two very different theatre aesthetics--both the highs and the lows--makes for a fascinating 90 minutes. [...] Director Emma Tibaldo is most at ease with the naturalist elements offered by the text. The actors are riveted to each other, devouring their linesand spitting them back out with tremendous energy. [...] It won't be giving away the ending to report that Down Dangerous Passes Road is a cri de coeur for the sacred superiority of art, because at some level, that's what most contemporary Quebecois plays are about. Talisman's attack is bold and imaginative. Watching the dueling aesthetics, one has the feeling the effort of translation is in equal measure hopeless and essential, and therefore, quite a good reason for doing theatre."--Marianne Ackerman, November 14, 2008. More / Plus...

That Woman (2007)

WHEN AND WHERE / QUAND ET OÙ :

September / septembre 13-27, 2007
Bain St-Michel

Text / Texte : Daniel Danis;
Translator / Traduction : Linda Gaboriau;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

Title : We are pleased to announce that our English-language premiere of Daniel Danis's That Woman, translated by Linda Gaboriau, has been nominated for the 2007 ACQT prize in the category 'Théâtre anglophone.'--Author, October 28, 2008. More / Plus...

The Mirror : "Emma Tibaldo's dream has always been to find the perfect combination of English and French theatre. [...] Tibaldo insists... that this "brutal and hopeful and beautiful and ugly and incredibly poetic" play will be distinct from its previous incarnation. "It's not a remount for me", she says. "It's a deepening of the work. it's exploring where we didn't dare explore last time. And the deeper you go, the more it hurts, but the more rewarding it is also. [...] We live in the same city. We share the same services. We share the same music. We share the streets, the metro. You know, we share everything. We share our lives. To not share our theatre seems insane to me."--Brett Hooton, 2007 More / Plus...

A Talisman Theatre Equity Coop Production with the assistance of the Canada Council for the Arts and the Department of Canadian Heritage through IPOLC.

That Woman (2006)

WHEN AND WHERE / QUAND ET OÙ :

September / septembre 20-30, 2006
Geordie Space

Text / Texte : Daniel Danis;
Translator / Traduction : Linda Gaboriau;
Director / Mise en scène : Emma Tibaldo.

REVIEWS / CRITIQUES :

The Gazette : "Something sinister infects the sordid story taking shape in spasmodic out-of-sync fits and starts of high and low emotions. [...] Directed by Emma Tibaldo, the production unites a group of talented veterans under the umbrella of Talisman Theatre, a cooperative formed to put on Quebec plays not yet seen in Montreal in English. Good news indeed, and it comes not a moment too soon to help fill a gap in the pure-laine anglo playgoing experience."--Mat Radz, September 22, 2006. More / Plus...

The Mirror : "[D]ozens of new French plays come out each year, and then there's all the stuff from past years that never got picked up for English language production. That's where That Woman and Talisman productions come in. As indie theatre companies go, this one is fairly high-powered. It was started by hot young director Emma Tibaldo and fellow NTS graduate, designer Lyne Paquette."--Amy Barratt, 2006. More / Plus...

The Hour : "At its wiry core, That Woman is a story about resilience, told by a triangle of characters who live dirty; who, because of their place at the bottom of the pile, are allowed to express life's depths, and in doing so, see its heights in a particularly illuminating way. As a reflection of clenched emotions playwright Daniel Danis's characters experience, the language, the style and the sparseness of the piece are its greatest assets."--Jodi Essery, September 28, 2006. More / Plus...

A Talisman Theatre Equity Coop Production with the assistance of the Canada Council for the Arts and the Department of Canadian Heritage through IPOLC.