Presence Theatre
in association with Bouche Theatre Collective
MIDNIGHT
By Marie-Hélène Larose-Truchon
Translated by Alexis Diamond
Featuring Layla Jalaei, Kevin McMonagle, Anthony Ofoegbu, Susan Raasay, Sakuntala Ramanee, Ami Sayers, Zara Tomkinson, Adam Tyler, and Hemi Yeroham.
In an act of resistance against a despotic government that hunts down seniors and sucks their memories dry, the irrepressible Midnight keeps her mother in hiding, to protect her and her daughter and their secret world. They swap knowing smiles and lost words while braving a lack of food and light, driven mad with love, anger, fear. This homage to a fading civilization stirs up snow and subversion, ancestral culture and instinct: craved, warped, misused, a past re-animated and electrified, just like new.
Meet the Playwrights & Translator
ABOUT THE PLAYWRIGHT
Marie-Hélène Larose-Truchon (she, her, hers)
A year after graduating from the National Theatre School of Canada’s francophone playwriting program, Marie Hélène Larose Truchon won the Le théâtre pour les jeunes publics et la relève playwriting award for her play Reviens!, and received special mentions at the Prix Gratien-Gélinas for Minuit (2013) and Un biseau m’attend (2015). The latter two plays were given staged readings (in 2014 and 2015 respectively) at the Centre de auteurs dramatique’s Dramaturgies en dialogue festival in Montreal. A coproduction of Minuit by the Théâtre Double Signe and the Petit Théâtre de Sherbrooke was presented in Sherbrooke (2017) and Montreal (2018). Marie Hélène teaches playwriting at the National Theatre School of Canada French language program and is working on several writing projects for all-ages audiences. Her play Crème-Glacée was produced by Théâtre La Seizième (Vancouver, Canada)
ABOUT THE TRANSLATOR
Alexis Diamond (she, her, hers)
Alexis is an anglophone theatre artist, opera and musical librettist, translator and theatre curator working on both sides of Montréal’s linguistic divide. Her award-winning plays, operas and translations have been presented across Canada, in the U.S. and in Europe. She also collaborates internationally with artists on performance-installations involving text, movement and sound. In 2018, Alexis began a multiyear collaboration with professor Erin Hurley (McGill University) and Emma Tibaldo (Playwrights’ Workshop Montréal) researching the history of English-language theatre in Québec. In May 2019, Alexis Diamond served as co-artistic director of the famed Festival Jamais Lu, where she presented the mostly French-language Faux-amis with co-author Hubert Lemire, supported by CALQ. Her theatre translations are also in wide circulation: upcoming tours include The Problem with Pink by Érika Tremblay-Roy, published by Lansman (Le Petit Théâtre de Sherbrooke), and Pascal Brullemans’ The Nonexistant (DynamO Théâtre). Three translations were presented in the 2018-19 season (for Geordie Productions 2Play-Tour, Talisman Theatre and Le Petit Théâtre de Sherbrooke). Her translation of Pascal Brullemans’ plays for young audiences, Amaryllis and Little Witch, was just published by Playwrights Canada Press. Currently the Quebec Caucus representative for the Playwrights Guild of Canada, she is co-founder of Composite Theatre Co. and a long-standing member of Playwrights’ Workshop Montréal. She has a B.A. in Creative Writing (Concordia University) and an M.A. in English Studies (Université de Montréal).
About Bouche & our Partners
Bouche Theatre Collective (Vancouver, Canada)
Founded in 2012, Bouche has been bringing artists and audiences together separated by language, distance, and culture locally, nationally, and internationally. With a specific focus on the cross pollination between Canadian francophone and anglophone artists and the international community, Bouche reaches out through translation, multi-lingual work, and devised creation. www.bouchewhacked.com
Presence Theatre (London, UK)
Presence Theatre believes that the theatre is an art form whose primary strength lies in the power of the actor and the word. We think this must remain the case even, and perhaps especially, when the form of a production is innovative or difficult. We embrace the classical and modern repertoire as well as new plays, with a particular interest in the avant-garde, and furthermore we seek to address the problem of the ever-shrinking repertoire in our mainstream theatres. We broadly seek to heal the divisions which have been imposed between the various forms of theatre in the last decades and to help to advance the medium in every sphere: art, production, education and community. The openness is all.