“Fairfly” or the ups and downs of a startup

Inability to perform in cinemas, even at the moment, the Théâtre de La Manufacture offers its satirical comedy to the difficulties of a Get started. Catalan Joan Yago García wrote, Fairfly is interpreted in particular by three members of the irresistible troop Projet Bocal.

He himself is from Barcelona, ​​director Ricard Soler Mallol (Intersections à La Chapelle) well-known playwright born in 1987. Montreal. “A lot of young entrepreneurs come to these two cities, so the context is almost the same. I also saw the room akma noon really has the energy and artistic line of La Licorne. »

Fairfly tested in public reading during The decade of La Manufacture in 2019. Artistic director Philippe Lambert suggested to the director to direct the actors of the Bocal Project, then in the process of playing another play they did not believe: Confusedby Marius von Mayenburg. Fairfly is not as “bizarre, absurd” as the works written by his co -stars Sonia Cordeau, Raphaëlle Lalande and him, who acknowledge actor Simon Lacroix. “But the three of us fell in love with the text. There’s a ping-pong of dialogues that allows us to have the comic rhythm that we do in our shows. This is a really interesting topic for us. »

What is very interesting is that it starts with idealism and chaos: anything is possible, and we will change the world. And the more it develops, the more we fall behind in the capitalist apparatus, and it almost destroys our humanity.

This obvious conspiracy of the trio – who in addition replays here in the company of Mikhaïl Ahooja, their partner of Confused – is an important asset for Fairfly, describing a group of friends starting a common project, according to Ricard Soler Mallol. “I think it was a really good choice because the piece was also created by a gang of artists often work together. He asks for a [distribution] who knows himself, who understands his codes of interpretation, to be able to let himself go in a rhythm which is all the same fever, very accelerated. »

The text follows four thirty -one things who, unhappy with a reorganization that threatens their jobs at a baby food company, decided to create their own Get started. Moved to the reality of Montreal by Maryse Warda, the story describes the ups and downs of this company that makes this unusual product (which artists prefer to reserve for surprises), as well as the conflicts that arise between “completely different” characters.

In addition to exploring the issues surrounding this dream business, Fairfly also discusses how all company discourse has now entered into our daily lives, the director added. “It is no longer seen like in the 1990s, when corporations were bad. They are part of our lives. And this acceptance also means that we have accepted individualism and the neoliberal system. So the piece asks about the whole relationship we’ve had since the 2000s with the company, with our work, of late. To illustrate this intrusion of the world of work into daily life, the show also placed the characters in an apartment.

“What’s very interesting, Simon Lacroix added, is that it starts with idealism and chaos: anything is possible, and we’re going to change the world. And the more it develops, the more we get caught up in the capitalist equipment, and it almost breaks down. our humanity. while destroying the relationship of the quartet. “Almost like that, the main subject of the play: friendship. To see how it lives in neoliberalism.”

Fairfly Called into question the growth spiral at all costs, refers to the actor. “It looks like this roll is crushing us. Competition, and you need to do more, more to grow. »

A system of relentless economic growth that also does not match the ecological ideals expressed by the staff. “But the interesting thing is that their environmental concerns are sincere,” Ricard Soler Mallol said. Simply put, they have no control over the system in which they live, for which there is no alternative solution right now. “The show also talks about this battle that lives within us. And I live every day: whenever I buy plastic, it destroys me. The play talks about the fact that we are caught in this system.»

Fairfly thus narrating a failure, measuring the gap that separates the first dream of being the leader of one’s own business and reality. Prior to the rehearsals, the director visited the “paradise for start-ups”: San Francisco. “A lot of people do start-ups there, after five years, they sell to Google or something else. Eventually, the project of having your small company goes away because eventually, you sell it like big There is such an illusion, a desire to change the world and do things differently. But you crush the system. We cannot get out of here. »

A mounted

However, he is quick to add, this is not a play that gives lectures to the audience. “People’s relationships are very well written there, it’s fun to see. »And the director’s challenge is certainly to find the truth of the relationships that connect each of the characters, and make the connection between a“ hyper sincere ”acting and the“ energetic rise ”of the text , at a frantic pace.

Joan Yago García’s elliptical piece progresses relentlessly, with no transition between scenes to mark the passage of time. To a surprise at the end, “it seems like the whole play is a bluff”. Ricard Soler Mallol compares this ever -growing spiral to the system of economic growth. “The concept is pretty much the same: rising, rising, up to explode. “Ricard enters kind of dreamy bubbles, which adds a perhaps more bizarre side,” the actor intervened. There may be small steps in the dance at some point… ”

It is true that distribution must provide excess energy. Originally, the theatrical recording (“with four cameras, a great production, but the fact remains that we wanted to show that it was theater”) had to be done with an audience in the room. Aware of his luck (“so many people in the arts waiting at home”), Simon Lacroix, on the other hand, said that the performers Fairfly rehearsed at first without knowing whether they would play or not in front of spectators. That makes all the difference in a comedy. “We would be at the time of rehearsals where we can’t wait to have people. Laughter will feed us and we will find [notre vitesse de croisière]. But there, we have to find how to do without it. »


Text: Joan Yago García, translation: Elisabet Ràfols and Maryse Warda, direction: Ricard Soler Mallol, with Mikhaïl Ahooja, Sonia Cordeau, Simon Lacroix and Raphaëlle Lalande. Acquired by Julien Hurteau, produced by La Manufacture and Pixcom, will air from Nov. 10 to Dec. 12.

To be seen in the video

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