ON THE ROCKS written and conceived by Louise Pitre, directed by Jen Shuber (Theatre Passe Muraille, 16 Ryerson). Runs to September 29, Saturday 7:30 pm, matinee Sunday 2 pm. $20-$32.50, matinee pwyc. 416-504-7529, passemuraille.on.ca. Rating: NNNN
Louise Pitre has starred in some famous long-running shows, including Les Miserables and Mamma Mia!, the latter of which won her a Tony Award nomination in 2002. On The Rocks, her new autobiographical show, has got a very short run of five performances (it closes Sunday). But if you love theatre or simply want to see a more personal side of one of Canada’s best artists, you owe it to yourself to attend.
On the airy, intimate main stage of Theatre Passe Muraille, Pitre – decked out in an old-fashioned men’s tux – recounts her life story, from her plucky childhood years in Montreal and her encounters with an eccentric piano teacher to her move to Windsor, Ontario, where she was teased in school because she spoke no English. Inspired by watching a French-language production of The Sound Of Music and also by the glitz and glamour of her Barbie outfits, she voiced dreams of becoming a performer, which her family would often gently mock.
At the same time, as evidenced by one in a series of actual childhood drawings that are revealed throughout the show, she wanted to grow up to be a happy wife and mother.
The show continues to look at her personal and professional lives. As her work offers grow from humbling but amusing “industrial” gigs in department stores and conventions to bigger and then bigger parts (Applause, Piaf, Jacques Brel Is Alive And Well And Living In Paris), she continues to strike out with men, capped off by a disastrous seven-year marriage.
Eventually, though, she meets a terrific guy, Joe, and some career-making roles also come her way (Les Mis, Mamma Mia!, Mame). But the two have to make some big personal decisions regarding having children. And then one and then another of Pitre’s parents becomes ill.
Original songs (by Pitre and her partner, W. Joseph Matheson, a.k.a. Joe) are beautifully sprinkled throughout the 90-minute work, and while it’s probably a wise choice not to use songs from Pitre’s famous shows – she’s done as much in cabarets – the numbers could be stronger. The lyrics are a bit too on the nose, and the melodies often derivative, like Michel Legrand drafts.
But Pitre, accompanied by the terrific Diane Leah on piano, invests fully in each song, using all the colours of her husky, powerful voice and infusing each note with genuine emotion.
A couple of numbers are better than others. One torchy song about her bad luck with men has the potential to be a gay anthem a la I Will Survive and two others deliver extra poignancy when they’re reprised.
The script, also by Pitre, could be tightened, and some of the design elements, under director Jen Shuber, could be more evocative. As Pitre herself says in one of the show’s strongest scenes, she’s a woman of extremes would it hurt to evoke those extremes in the production?
But On The Rocks is essential viewing for fans or anyone interested in pursuing a career in the performing arts. Pitre doesn’t pull her punches about the highs and lows of the profession. She’s one of the most fearlessly committed and talented artists around.
