Men overboard

>> Hype and histrionics sink L'Odyssée

by AMY BARRATT

L'Odyssée, back for a limited run at Théatre du Nouveau Monde, comes with hype aplenty. Even before it first opened last February, critics and the public stood ready to hail it as the next great thing. That's because many of the people involved in the production, both on stage and behind the scenes, were also responsible for Don Quichotte, the revelation of TNM's '97-98 season.

Dominic Champagne co-wrote the script (adapted from Homer's Odyssey) and also directed. Original music was composed, as with Don Quichotte, by Pierre Bernard, and Michel Beaulieu once again provided the lighting. In place of dynamic duo Normand Chouinard and Rémy Girard (as Don Quixote and Sancho Panza) L'Odyssée offered François Papineau and Pierre Lebeau.

Also conspicuously absent from the credits was Wajdi Mouawad, who had adapted the work of Cervantes for the earlier production. Champagne and Alexis Martin's adaptation of Homer's epic is adequate, but it completely lacks the Po-Mo wink that made Don Quichotte so much fun. Their L'Odyssée is earnest, yet unmoving.

But then, it wasn't the script that sent people into raptures with the show last time around; it was the production values. The set, by Stéphane Roy, is indeed magnificent. When the mise-en-scène creates an aerial view of Ulysses' ship, using an upright platform with sailors attached by bungee cords, it's breathtaking. The use of film projections, though, is less awe-inspiring, especially if you're seated in the front rows.

Because it uses the entire proscenium space in a cinematic way, this is a show much better viewed from the back of the house. That should also provide some respite from the booming sound system. Although I couldn't see any microphones, all of the actors seem to be mic'd, presumably to ensure being heard over the pleasant, but over-loud, soundtrack.

To call the acting in L'Odyssée "physical" would be an understatement. Actors literally have to throw themselves around the stage to simulate, for instance, a storm at sea, but it's a lot of sound and fury, signifying rien. François Papineau is appropriately hunky as Ulysses, but his hyperventilating and gob-smacked expression is no substitute for passion.

But the most unforgivable acting is committed by TNM favourite Pierre Lebeau, as Ulysses' father, Laertes. This guy is simply the biggest ham in Quebec theatre, and the longer he is allowed to perform a role, the more egregious he gets.

On the rare occasions when Lebeau speaks on a low, intimate level, he has the deepest, most beautiful voice in the world. Unfortunately, whenever I've seen him, he has bellowed and sputtered his way around the stage till I felt sure he would bring up a hairball. Histrionics ruined his performance in Cyrano de Bergerac, another TNM hit, three years ago. He'll be back later in the TNM season as Macbeth, God help us. In L'Odyssée, Lebeau is responsible for a "dramatic pause" in the final scene that I sense becomes longer each time he performs it. It is a sickening sight to see an actor so unconcerned with what everyone around him is doing. If the director fails to rein him in, it's not surprising: Lebeau has been allowed to run amok by directors much older and more venerable than the 30-something Champagne.

Of course, it doesn't matter if this remount is any good. Since more people believe hype than trust their own judgment, L'Odyssée is virtually guaranteed standing ovations every night.

L'Odyssée, to Sept. 9 at TNM, 866-8668