Last Night at the Gayety

Centaur Theatre
April 19 - May 15, 2016

The Gayety Theatre (1912 to 1953) was once a real Montréal landmark. It was located at 84 Sainte-Catherine Street West, at the place where now stands Le Théâtre du Nouveau Mond. It was built by architects Ross and Macfarlane, and became one of Montreal’s prime places of public entertainment, with a capacity (including balcony and gallery) to sit 1,600 guests. The theatre began as a Vaudeville venue. During the great depression, when American Vaudeville collapsed, the Gayety briefly became a movie theatre. Later, and until it closed in 1953, it featured more risqué Burlesque shows.

The Gayety Theatre along with other clubs became a part of a Montreal’s red light district which by the late forties was associated with organized crime and corruption, in which police and politicians were often complicit. In 1950 La Comite de Moralite Publique (CMP) was formed to conduct an official inquest surrounding corruption in Montreal. This resulted in many of the cabarets of Montreal’s red light district, including The Gayety to be shut down.

The play portrays the final act of the Gayety’s Theatre existence. It recreates the events that led to its demise, and vividly presents the attractions the place offered. It was most famous for featuring Lilli Saint Cyr, a dancer who often performed topless, which fuelled the indignation of the CMP.

Come and enjoy the play. Let yourself be immersed in the bygone era of the Vaudeville and Burlesque, the music and lyrics of Rick Blue and George Bowser, as well as the performance of a well chosen cast.

Centaur Theatre's play synopses:

Booze, burlesque, and bad guys abound in this sizzling, large scale spectacle as Bowser and Blue put the sin back in ‘Sin City’, bringing Montreal, circa 1951, back to vivid life. Police Chief, Pacifique ‘Pax’ Plante, leads a crusade to eradicate vice by clamping down on gambling, raiding brothels and nightclubs, the Gayety and its shining star, “the best dressed, undressed lady in the theatre”, Lili St. Cyr, in particular. 

Book, Music and Lyrics: Rick Blue and George Bowser
Director: Roy Surette
Musical Director: Chris Barillaro
Choreographer: Jonathan Patterson

Actors: Daniel Brochu, Tamara Brown, Rosie Callaghan, Jonah Carson, Davide Chiazzese, Holly Gauthier-Frankel, Julia Juhas, Frayne McCarthy, Shannon T. McNally, Michel Perron

Musicians: Parker Bert (Percussion), Mike De Masi (Bass), Benjamin Kwong (Piano)
Arrangements and Orchestrations: Chris Barillaro
Associate Musical Director/Show Conductor: Benjamin Kwong
Set and Costume Designer:  Francis Farley

Lighting Designer:  Luc Prairie
Burlesque Consultant:  Holly Gauthier-Frankel
Stage Manager:  Luciana Burcheri

Assistant Stage Manage: Jacynthe Lalonde

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Hover your mouse over images for description and credits.

For more information, visit the Centaur Theatre website.

Pillow Talk

Centaur Theatre
March 29 – April 24, 2016

by Dulcinea Langfelder & Co. 
World Première

"WE ARE ALL ARTISTS WHEN WE DREAM"

Pillow Talk is a theatrically performed essay on dreaming and dream imagery. It is build on Dulcinea Langfelder's personal dreams which she registered with a Dictaphone placed under her pillow. Spectators hear the original recordings of the dreams as they watch them being simultaneously enacted by Dulcinea on stage.

Dulcinea Langfelder is a multi-disciplinary artist. In addition to her real dreams narration that explores the surreal landscape in her subconscious mind, she uses animation, video projections, image collages, music, movement and dance. The imagery projected as a backdrop and also on her body is strong, colourful, and expresses well her dreams' narrative.

There is a playful part to her dreams and a number of funny moments. Especially, the portrayal of her obsession with Barak Obama will make the audience laugh. The Obama line goes through the entire play, as a single unifying theme to hold all the other disconnected imagery together. At a certain point it is no longer perceived as being funny as it was at the beginning of the play.

The performance includes the upper body nudity that does not seem to be necessary to express the artistic meaning of the dreams. In fact, it appears somewhat gratuitous. Overall, the play represents a very original concept and gives the spectators an opportunity to ponder on their own dreams and personal dream imagery.

Click on images to enlarge them.

Hover your mouse over images for description and credits.

For more information, visit the Centaur Theatre website.

Dulcinea Langfeld's Pillow Talk Play Trailer