Théâtre Duceppe: The New Era

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Actor and director Jean-Simon Traversy has been the co-director of Théâtre Duceppe with David Laurin for the past seven years.

“The theatrical research company I directed with David Laurin focused on American playwriting,” says Traversy, “and the meeting with the Théâtre Duceppe team, rooted in American culture, happened organically.” Both companies share the same mandate: to tell accessible stories and open theatres to a wide audience.

The tandem approach has increased the Duceppe company’s presence tenfold, multiplying its offerings. The encore series extends the life of excellent productions that have sometimes been little performed. “Good texts need a gateway for everyone to hear them, and Duceppe is that large venue.” Attractive rates for young people and 5-à-7s contribute to this democratization effort.

A renewed audience

When you attend a show at Duceppe’s, you notice now just how diverse the audience has become. “The crowd depends on who’s performing,” Traversy explains. “You can’t ask everyone to subscribe, but people come out for what speaks to them.”

From the very beginning, Compagnie Duceppe has always been rooted in the community, and it has naturally opened its programming to other voices, committed to presenting a diversity of practices, cultural heritages, languages and bodies. “The encounter with Innu author Naomi Fontaine, for the play Manikanetish, which was also toured, was remarkable. The involvement of young people from her community, who auditioned and participated, made the whole project a true conversation.”

Traversy notes that “we adapt to meet artists’ needs.” For example, for King Dave, a committee made up of members of the Black community was formed to promote the acceptability of the proposition; for Mama, the audition process was adapted and a creative laboratory with artists of North African and Middle Eastern descent was organized.

Traversy is equally enthusiastic about the epic Chimerica. Lucy Kirkwood’s play, presented until Feb. 17, is about an American photographer who returns to Tiananmen Square. “Half the cast is of Chinese origin. It’s important to make sure the story isn’t just told by the same people.

“We’re after strong encounters, passionate people who propose significant ventures—like La suspension consentie de l’incrédulité, a play by Emélie Perreault in which the radio host and performer compares culture to an essential service.” The play, which charmed David Laurin during last Festival de l’Assomption, is scheduled to be presented in April in the theatre’s backstage area, transformed for the occasion into an 80-seat showcase.

“Composing an artistic season means listening, creating a bridge between a subject and an artist.”