Alain Thibault, music | René-Daniel Dubois, libretto | Joseph Saint-Gelais, stage direction, stage design | Claude Cournoyer, lighting | Jacques-Lee Pelletier, make-up | Anita Pantin, costume | Réjean Goderre, hairstyling
Pauline Vaillancourt, soprano
Sept. 19, 20, 21, 24, 25, 26, 27, 28, Oct. 1, 2, 3, 4, 5, 8, 9, 10, 11, 12, 15, 16, 17, 18, 19, 1991, Théâtre La Licorne, Montreal
April 4-19, 1992, Fundateneo Festival, Caracas, Venezuela
April 8, 1994, Théâtre de la Manufacture, Colmar, France
April 30, May 1, 1994, Musée d’art contemporain, Montréal, Québec
February 1-4, 1995, The Music Gallery, Toronto, Ontario, Canada
June 2-4, 1995, Contemp’Aria Festival, Victoria, Colombie-Britannique, Canada
November 22-25, 1995, Nouvelle Compagnie Théâtrale, Montréal, Québec
Reviewers Award (Prix de l’Association québécoise des critiques de théâtre 1991)
In the middle of the Great Australian Desert, a hideous myopic monster named Flip, approaches a young Italian opera singer, Michaëla, who is tied to railroad tracks at the foot of a high cliff. On a ledge of the aforementioned cliff, a young Teuton, name Weulf, watches the scene in desperation.
From each end of the railroad tracks, we hear the radio traffic from two teams of military conveys led by Father Christmas and Stalin. They are charging towards each other as part of the Goliath and Goliath operation. Father Christmas becomes insane and his brigade of helicopters, the South Belvedere Patrol, refuses to turn back as they are ordered to by their commander, the Green Goblin, who has learned about the presence of Flip and Michaëla on the tracks, and decides to escort then with great pomp and ceremony to their victory.
Scorched by the relentless sun, Michaëla, Flip and Weulf become one single character, the Beast, who is then attacked by the trains and the helicopters.
DOSSIER REVUE JEU
DOSSIER : LES CAHIERS DE LA NCT