(Dominic Cavendish’s article appeared in the Telegraph, 8/14.)
Some 15 years ago, the Canadian theatre visionary Robert Lepage, who made his name with sprawling, character-loaded epics, achieved a solo triumph with The Far Side of the Moon, combining a trim tale of two brothers with the Cold War rivalry of the Space Race. His latest one-man endeavour for his company Ex Machina – receiving its European premiere here – provokes a similar sense of awe. This is the most intimate show of his career, achieving both a cerebral and an emotional power.
At the age of 57, Lepage has been drawn back to 887. That’s the number of the apartment building on Murray Avenue, Quebec City, where he grew up in the Sixties. He doesn’t just describe it in reminiscence, painting the scene with words. Lepage proves he needs to consistently push the boundaries and nowhere is that more evident than in his technical wizardry. He shows us his old haunts: looming large over a succession of model sets of the mansion block, other local environs of interest and places held dear in the memory.
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