Elevation Through Collapse
Helen Simard's TOUT S'EFFONDRE
The theatre is plunged into darkness, the audience is arrested by a stark white light that descends from above, pinning us in our seats and rendering us the initial subject within the void. Long before the stage becomes visible, a low, resonant beat emanates from the space, initiating an immersive sonic environment that suggests an enveloping performance. This is Helen Simard’s TOUT S'EFFONDRE, brought to life by a compelling ensemble of performers, with a live score by Roger White (Helen’s longtime collaborator and husband). From the silence of the audience before the show, everyone can already feel the palpable sense of artistic significance in this work.
FULL DISCLOSURE: I’m grateful to say that Helen Simard and I are friends and colleagues, and she is someone whom I have the utmost personal and professional respect for.
For the past ten years, I have been blessed to witness Helen meticulously composing an ongoing score of movement. Each performance functions as a distinct chapter, a series of disconnected events, within an evolving discourse, a larger composition, exploring diverse rhythms, tempos, harmonies, and corporeal relationships. Certain choreographic motifs like the deliberate construction of spiraling forms, the visceral tension inherent in physical distortions, the subtle yet potent exchanges between performers, each have recurred and grown across these iterations. TOUT S'EFFONDRE, embodied by this dedicated group, now presents itself as the most intricate and fully orchestrated articulation of this extended work, a symphony, seamlessly refining thematic techniques from all preceding works into a compelling and unified whole.
Having observed the trajectory of this artistic exploration for nearly a decade, since the raw intensity of NO FUN in 2016 (a wild period coinciding with my own initial explorations into immersive art), I recognize the distinct marks of Helen's unshakeable vision. The stark staging, the strategic use of intense spotlights, the washes of light from the floor at the foot of the front row, the backlighting that pulls the audience onto the stage. The work of lighting designer Tiffanie Boffa is excellent here, her execution consistently shaping the emotional and conceptual landscape. Keeping with Helen’s aesthetic, a minimalist stage design paradoxically yields a maximalist experience. Each shift in light, every strained exhalation audible above the powerfully evocative live score, every minute articulation of gesture carried out by the performers holds profound intentionality. This includes the choreography of the shadows cast on the walls by the dancers, expertly showcased through the lighting design, functioning as an intrinsic layer of the narrative itself, underscoring Helen’s multidimensional approach to embodied storytelling.
The very title of the production, TOUT S'EFFONDRE (Everything Falls Apart), immediately evokes Helen Simard's personal narrative, starting with a brutal fall on the ice in 2018 and its subsequent physical and psychological ramifications. This experience served as a catalyst for a broader exploration of the simple concept of falling, eventually encompassing the literal, the emotional, the societal, and beyond. Observing the dancers embody states of joy, of loss, even agony, through intensely physical sequences, I’m drawn to this personal impetus, and its expansion into a more profound and resonant examination of falling, of collapse and, perhaps, the inherent potential for regeneration.
At times, the stage becomes a tapestry of multiple unfolding narratives, a rich description of the human experience that verges on sensory overload in its intensity, yet remains captivating as spoken through the intricate and intense movements of the performers. The performers' breath emerges as a visceral component of the soundscape, as integral as the meticulously crafted music. In a silent moment of overwhelming emotion, a performer's audible sob cuts through the abstraction, resonating with an unplanned honesty that speaks directly to the work's emotional core. The introduction of chanting marks a new dimension within the music of Helen’s work, composed by Roger White, suggesting the witness of an exciting evolution pushing beyond established boundaries.
The central question persists: what is the true meaning of "to fall" within this context, both for the performing bodies and for us, the audience? Where might a shared understanding, even a form of solace, be found within this depiction of universal disintegration and regeneration? And a counter-thought arises: is there a form of positive fall, a liberation, when a burden is finally released? This piece, brought to life by the commitment of the performers, the lighting designer, and undeniably the music, inhabits both the torment of collapse and the hopeful possibility of release and renewal.
As the production reaches the conclusion, the stage is enveloped in a powerful series of backlights, a signature Helen Simard visual that leaves an enduring impression, a feeling of inclusion. In that moment, witnessing the culmination of years of artistic exploration, the raw emotional power of the performance delivered by this dedicated ensemble, and the immense achievement that is TOUT S'EFFONDRE in its totality, a profound sense of pride for my friend washes over me. There are tears in my eyes. This work demonstrates Helen Simard’s unwavering artistic devotion, and her creative integrity. I am thankful to be here.
Having experienced this work firsthand, I believe I’ve made it clear that TOUT S'EFFONDRE is an experience of both significant artistic merit and profound emotional resonance. With only two more days remaining in its engagement, including today, I offer a direct recommendation: witness this compelling piece of Montreal artistry.
Tickets can be purchased HERE.
TOUT S’EFFONDRE
Choreography : Helen Simard
Music : Roger White
Performers : Rodrigo Alvarenga-Bonilla, Bailey Eng, Sage Fabre-Dimsdale, Stephanie Fromentin, Justin Gionet, Mecdy Jean-Pierre, Maude Laurin-Beaulieu, Marie Lévêque
Lighting Design : Tiffanie Boffa
Rehearsal Director : Brianna Lombardo, Kaia Mienna
Dramaturgical Support : Erin Lindsay
