Measure for Measure

Shakespeare’s text adapted with a view of creating space for director Suzanne Lantagne’s highly personal theatrical language of movement and music.
Premiered by THEATRE 1774 in February, 1993. Directed by Suzanne Lantagne.

Susann Schutta – Hour
It takes a production like Theatre 1774’s Measure for Measure to remind us that Shakespeare really deserves his place at the head of the English literary canon.Brilliantly directed by Suzanne Lantagne, Measure for Measure is a delight from beginning to end: aurally, visually, emotionally and intellectually.

StanleyAsher – The Montreal Downtowner

A most intriguing Shakespeare. If you like your Shakespeare spiced with Growtowski and Arrabel, you’ll be fascinated by the Theatre 1774 production. This is a Measure redolent of today’s headlines and audiences can use it as a Rohrshack test.

Miss Julie
après Strindberg

Set on St. Jean Baptiste Day in the Eastern Townships of Quebec, circa 1929, this adaptation of Strindberg’s classic explores the sexual undercurrent of tensions between the daughter of a wealthy Anglo family and their French-Canadian staff.

Premiered by THEATRE 1774, March 1994.
Directed by Jean Frédéric Messier
Starring Philippa Domville, Gaëtan Dumont, Geneviève Rochette.
Set and costumes by Yvan Gaudin.
Lighting by Manon Choinière.

Text available from the author

Pat Donnelly – The Gazette

Setting this 1888 Swedish battle of the sexes in Quebec’s Eastern Townships of 1929 smacks far more of politics than literary inspiration. The servants speak French to each other and English to the daughter of the manor, who barges into the kitchen like Princess Di bent on a bulimia binge. … Judging from the stove, the bell and the rest of Yvan Gaudin’s stylish set and costumes, far too much money has ben spent in the pursuit of offending both solitudes equally. Not to mention the Swedes.

Susan Schutta – Hour

In Miss Julie, 1774 has found a perfect outlet for fascination with the historical dynamic between Quebec’s English and French populations. Exploiting the play’s obvious similarities with our province’s history, the adaptation makes Strindberg’s work seem tailored for Quebecers. … Like the social conflicts in Quebec, nothing is resolved. The status quo, however unstable, remains in place by default because no one has the courage to risk change.

Robert Lévesque – Le Deroir

A l’adaptation, Marianne Ackerman a choisi de faire du drame, qui éclate lorsque Mlle Julie passé une nuit dans le lit du domestique Jean, un drame plus large encore, l’étendant dans le champ ethnique ou le domestique est non seulement un serviteur mais aussi un étranger, quelqu’un d’une autre race, sonsidérée (mais ce ne’st pas dit) comme inférieure. Le pari était trop fort pour la pièce de Strindberg.

Luc Boulanger – Voir

Le soir de la première, un problème technique est survenu. Lorque Jean coupe la tête de serin de Julie, le sang n’arrêtait pas de couler sur la table de cuisine, au grand dam de Julie qui ne savait plus quoi faire de son torchon… à confondre August Strindberg avec Ken Russell … il y a des limites!