The Théâtre de la Manufacture presents Fairfly, a play by Joan Yago García premiered in Barcelona in 2017, in a Quebec adaptation by Maryse Warda. With the excellent trio of the Bocal Project: Sonia Cordeau, Simon Lacroix and Raphaëlle Lalande, to which is added Mikhaïl Ahooja, all the actors being in their thirties, like the author.
Zone rouge obliges, the show of La Licorne, directed by Ricard Soler Mallol, is available on the web until December 12. Let us underline the excellent work of the director Julien Hurteau who knew how to convey the emotions of the performers in his recording. We have the impression of being really close to the stage. For better and for worse.
The webcast asks the question of the projection of the actors: in the theater, the performers can shout on stage to be heard until the last row; but it gets aggressive when it screams on the screen in our living room.
Four thirty-something friends get together at home one evening for a beer. They work for a baby puree maker. And they are worried about company restructuring and future job cuts. After having drawn up a “manifesto”, they discuss various means to express their demands at work. When an idea arises: “Why not go into business and start your own?” start-up baby food? ”
In less than two, these “victims” of the free market become disciples of economic growth and defenders of the entrepreneurial spirit. Motivated by success, they will work without counting their hours, until the day when “the Darwinism of the market” will make them disillusioned. And sabotage their microenterprise plans. In the capitalist jungle, it is well known that the big often eat the little ones.
Critique of the new economy
The Manufacture affirms that Fairfly is in line with “a new generation of Catalan authors who are reviving social criticism in the theater”. The Catalan play criticizes the European Union, and its promise that unity is strength… while rather widening the inequalities between countries.
The piece is very rhythmic, with bursting lines, several jumps in time and an exploded narrative frame. The end, however, is disappointing, even lazy.
The intimate staging incorporates impressionist elements. At times, she pours into magical realism, out of tune with the whole production. Most of the time, the actors play in stockings, beer in hand, around the dining room table …
Alas, in the middle of the room, we see that the satire goes round in circles. It would have been advantageous to transpose the work as a fable of the inhuman condition of a world based on individualism and profit, to the detriment of sharing and solidarity. In the end, if friendship is based solely on ambition and material and financial success, we are hardly in very good company …
By Joan Yago García
Director: Ricard Soler Mallol
Video capture made by Julien Hurteau for Pixcom
A production of La Manufacture in webcast until December 12