![]() Wright wrote his play in the mid-90s, in reaction to rows about “decency” and public funding of the arts in the US. A crowd of inmates is apparently trapped in a pillar, a column of disturbance. You may see multiple Lepages, or you may look beyond the surface. ![]() ![]() Walls are sometimes transparent, sometimes reflecting. Bars of a cell gleam like fluorescent tubes. Are we in the Enlightenment or at the dawn of Romanticism? The talk is dark but the stage is full of light. In comparison to Lipsynch or The Far Side of the Moon, Quills looks modest at first.Īctually, it proves that Lepage’s gift is not to decorate but to explore. There is no leaping between continents no gliding between film and flesh, or strange shape-changing. Quills holds several surprises: it is based on someone else’s script it is collaborative – Lepage co-directs with his fellow Canadian Jean-Pierre Cloutier – and it eschews much of the dazzle and melt that have seemed essential to Lepage’s work. Filth? Laundering? No metaphor is unmissedĪny new work by Lepage, a stage wizard, is of extraordinary interest. ![]() Various body fluids are pressed into service. ![]()
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