Review Of The Play Les Belles-Soeurs By Michael Tremblay
The original play Les Belles-Soeurs by Michael Tremblay debuted its theatrical appearance on September 29, 2018 at the Gateway Theatre in Richmond. Directed by Diane Brown, the Gateway Theatre production is a must see that features strong performances from an all female cast that captures the essence of Tremblay’s Les Belles-Soeurs. Set in Montreal in1965, Les Belles-Soeurs is known as a revolutionary piece that recognizes the resilience, suffering and exhaustion of working-class women. In the 1960’s, many women were found trapped in an era where the dominant Catholic culture was sexist and birth control, abortion, and promiscuity was forbidden. Tremblay wrote this play to protest the oppressive English and Catholic Church who dominated Quebec culture and life for many years.
In French, “les belles-soeurs” means sisters in laws and also beautiful sisters, which is ironic because there is nothing sisterly or beautiful about this group of females. Germaine Lauzon plays the obnoxious protagonist who gloats and flaunts her jackpot of a million stamps in front of her friends and sisters as she invites them to help her paste stamps so she can fully refurnish her home. While labouring away, Germain underestimates the power of jealousy as the bunch starts stealing stamps right under her nose while Germaine remains oblivious. Throughout, the bunch gossip and go on about their unhappy lives. They bicker and even share a joke about a nun getting raped. Act I ends as the play climaxes with the entrance of Pierrette, the disgraced and estranged sister. While Germaine’s daughter Linda and her friends idolize Pierrette, the rest of the group curse her as she works in a night club which is considered “mortal sin”. Pierrette later reveals that she is just as unhappy as the rest.
In Act II, the Catholic brutalization of female sexuality is a main focus here as Lise, a friend of Linda’s confesses that she is pregnant and considers abortion and Rheauna condemns Angelique for going to the club where Pierrette work. Act II ends with Germaine finally noticing the theft of the stamps as her sisters and friends steal the rest and run away, leaving Germaine with nothing as she cries over the “beautiful new house” she was dreaming of. Director Diane Brown has done a wonderful job of portraying the miserable lives of working-class women through the monologues, the soliloquy’s, the synchronization of stamp theft, and the ode to bingo. The actors worked seamlessly together to create a dramatization that was easy and enjoyable to watch.
Being set in the 1960’s the setting in Germaine’s run-down house reflects that the family is working class with not much money and the wardrobe reflects the 1960’s. It was a powerful scene seeing the women lament together their daily routine of cleaning, cooking and taking care of their ungrateful husbands and kids. The repetition of “this stupid, rotten life” and “but at night, we watch TV” was beautifully choreographed as their expressions dramatically change from resentment to being relaxed. The group harmonization to the ode of bingo was enjoyable to watch as the joy to the rewards of bingo comedizes how dull their lives are. When Germaine’s remaining stamps are being stolen, the atmosphere becomes a battle field with stamps and booklets flying everywhere. Brown does a very good theatrical job of having the cast fight in slow motion in the background as Pierrette consoles Germaine in real time. This scene was comical but also sympathetic to watch.
During the final act, the women stack up the furniture in the center of the stage and follow Germaine as she climbs to the top chanting “this stupid, rotten life” while a shower of stamps pour over her and Mme Dubuc sings O Canada. Although this scene was different from the original script, it showed resilience and strength in their hopelessness and helplessness. The Gateway Theatre production brings together 15 female actors who characterize women of a generation who share their joy of bingo and their misery and dullness of their lives. The set and wardrobe brought out the authenticity of the time period of Quebec’s working class.
Even after fifty years, Les Belles-Soeurs remains a compelling period piece as society and women have moved forward from the oppressive Catholic church culture. Some of the main elements of the play: jealousy, greed, judgement and theft are all relevant to in 2018. To conclude, Brown has casted an exceptional cast who put on an enjoyable performance.
