Download 11. SENS CRITIQUE Responsable : Mathilde BRANTHOMME

SENS CRITIQUE
The entry of the chorus (six
women in plaid blankets and turbans,
one man in a suit), one-by-one from the
audience, is quiet and deliberate. But the
dramatic build soon takes hold and
intensifies as the bloody drama of the
fall of the House of Atreus unfolds.
From the face-off between mother and
daughter behind microphones within the
context of a Truth and Reconciliation
Commission, to the otherworldly ending,
Molora never ceases to fascinate.
Gould, who won the South
African 2008 National Best Actress
award for Molora, is a powerhouse of
Glenda Jackson/Judi Dench calibre. That
her inaugural Canadian performance
(and that of the play) is taking place in
Montreal rather than Toronto is a coup.
Tshabalala’s Elektra is heartwrenching, fierce and brave. Matsheni’s
Orestes is bold, majestic -- athletic. At
one point, he literally walks on air.
In ancient Greece, theatre was
obligatory because it was deemed
necessary to maintain a healthy society.
Citizens were fined for not going.
Molora helps us understand why.
21