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2009 Governor General's Literary Award for Drama; 2009 Prix de la critique, young audiences category, awarded by the Association québécoise des critiques de théâtre; 2009 Prix Sony Labou Tansi des lycéens; 2008 Distinction de la Comédie-Française; 2007 Prix des Journées de Lyon des auteurs de théâtre.
Elikia is a child, among so many others, who has seen her life overturned from one day to the next in a chaotic, lawless civil war. The girl, kidnapped from her family, becomes a child soldier. She is a victim, but she is also an executioner in an untenable situation that blurs the most elementary laws of ethics. How can she grow up and remain human when the reference points disappear beneath a hopeless daily brutality? It is little Joseph, the youngest child to come to the rebels’ camp, who reminds her of her childhood, her family, her village, and her humanity, and gives her the courage to break the chain of violence into which she has been pulled.
“Suzanne Lebeau’s Le bruit des os qui craquent is a serious, strong show, with an almost holy intensity, due to both the essential subject that the play addresses – the life of child soldiers – and the fervour that the entire team puts into denouncing this dark reality. The author, through a counterpoint structure and a clear, limpid text, imbued with modesty and profound humanity, opposes compassion and indignation to the brutality and barbarism into which these children are plunged. With his spare, evocative direction, Gervais Gaudreault suggests the unspeakable horror. The actors, completely committed, play with restraint that which would make us want to scream. The shock of emotion and revolt could not be more explosive. To be seen.” Marie Laliberté, Voir Québec
“If war, as it is, is always tragic and useless, it becomes downright senseless when it involves children, especially when these children are violated in every way possible and imaginable to make them child soldiers. Without showing violence, Le bruit des os qui craquent demonstrates all of this horror – a demonstration both intense and touching. . . . Angelina (Isabelle Miquelon), the nurse who takes in the children at the end of their long flight, wants the words of Elikia, who cannot, unfortunately, testify in person, to be heard. “Emotion and Shivers “With carefully controlled emotion, she opens Elikia’s diary to read excerpts. It is enough to send shivers down the back of the most jaded audience member, although it never falls into sensationalism. Words, just words . . . admirably written by Suzanne Lebeau, who last week won the Prix Athanase-David awarded by the government of Quebec for the quality of her writing and her impressive contribution to theatre for young audiences over the last 35 years. . . . “Gervais Gaudreault’s direction, which takes place at two levels – the flight of the two child soldiers into the darkness and tall grass, and the nurse’s testimony before a cold commission – is extremely effective and more eloquent than many images. Skilfully directed, the actors are vibrant. “Full of emotion and finesse, Le bruit des os qui craquent is a play that absolutely must be seen. Everyone should see it, because it lifts the veil on a reality that we tend to minimize and that is much more generalized than we believe.” Denise Martel, Journal de Québec
“. . . the text by Quebec playwright Suzanne Lebeau, which relates the fate of two child soldiers, is an ode to rediscovered dignity and to responsibility.”Jean-Luc Bertet, leJDD.fr
“Suzanne Lebeau’s beautiful writing, clear and accessible, is based on evocation and situated in a moment full of hope. Her text is nourished by her faith in resiliency; the worst may happen, but human beings’ essential enthusiasm aspires to dreams and hope.” Anne Pelletier, La Provence
“We expected it, but it was still a rude shock. The Quebec company Le Carrousel offered us an unforgettable piece of theatre, one of these moments that anchors us in a reality that is unbearable, but the knowledge of which is necessary. Le bruit des os qui craquent is a text that is intense, hard, raw, simple, and direct. . . . Neither didactic nor sordid, this text . . . is a gift. A true gift.” Dominique Marcon, Zibeline
Jean-Philip Debien In film, Jean-Philip Debien played the role of Groleau in La forteresse suspendue by director Roger Cantin, a film in the Contes pour tous collection produced by Rock Demers. On television, he played Arthur Laliberté in Emma and appeared in 15 commercials as well as in Ayoye and Les poupées russes. In the theatre, Isabelle Miquelon has been in more than 25 productions in Montreal, enjoying both creating new roles and playing the great classics. After making her debut in Michel Marc Bouchard’s La poupée de Pélopia at Théâtre d’Aujourd’hui, she won the Jan Doat award for her portrayal of Marjolaine in In Extremis at Quat’sous and was in the cast for the premiere of Daniel Danis’s first plays, Celle-là and Cendres de Cailloux, at Espace Go. Following this was a long collaboration with Théâtre de l’Opsis, where she worked with directors Luce Pelletier (Les Grecques and Élektra), Serge Denoncourt (Oreste: The Reality Show), and Jean Gaudreault (Ruines). Audrey Talbot
In theatre for adult audiences, Audrey Talbot played J’ai rêvé à des crêpes, which she co-directed at La Petite Licorne, Tout comme elle, a production by Brigitte Haentjens and Sybillines with a cast of 50 women, and Marie Stuart, in which she played the title role, directed by Marc-André Bourgault. In 2007–08, she continued her training in vocal work with actor Danièle Panneton; since then she has been doing studio work, with narration and voice-overs.
by Suzanne Lebeau Premiered on January 13, 2008 at Centre culturel Marcel Pagnol de Fos-sur-Mer (France) A production of le Carrousel theatre company and Théâtre d’Aujourd’hui (Montreal), in residence at Théâtre de la Ville (Longueuil, Quebec), in co-production with Théâtre Jean Vilar de Vitry-sur-Seine and the Fédération d’Associations de Théâtre Populaire with assistance from the Aide à la création program of the Centre national du Théâtre and support provided to the author by SACD (France). LE BRUIT DES OS QUI CRAQUENT (THE SOUND OF CRACKING BONES) Schedule of Quebec performances October 28, 2011, to March 28, 2012 Théâtre Mirella et Lino Saputo/ Diffusion Culturelle de Lévis La Palace/Granby Théâtre Centennial/Lennoxville Théâtre Lionel Groult/Sainte Thérèse Théâtre de Baie Comeau/Tél : 418 295-2500 Salle de spectacle de Sept-Îles Salle André-Gagnon/La Pocatière EL RUIDO DE LOS HUESOS QUE CRUJEN Schedule of Mexico performances
In coproduction with the Compania Nacional de teatro Legend: |
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Le Carrousel, theatre company - www.lecarrousel.net
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When he graduated from the Conservatoire d’art dramatique de Québec in 2009, Jean-Philip Debien was invited by Frédéric Dubois to perform for the night-time walking tour Où tu vas quand tu dors en marchant, offered as part of the Carrefour international de théâtre de Québec. He then rejoined his graduating class to present the show . . . et autres effets secondaires at Théâtre Premier Acte in Quebec City, a production marking their entry into the profession, directed by Marie-Josée Bastien. During his training, he worked with directors Marie Gignac, Lorraine Côté, and Jacques Lessard and with the actor Linda Laplante, a long-time collaborator with Le Carrousel. 
Trained at the Conservatoire d’art dramatique de Montréal, Isabelle Miquelon has a rich performance background in theatre, television and film. Debuting on television as Patricia O’Connell in Lance et Compte, which earned her two Gemini Award nominations, she then appeared in a number of Quebec serial dramas, including Jeux de Société, Chop Suey, Les Super Mamies, and, most recently, Tranches de vie. In films, she was in the cast of Léa Pool’s La dernière fugue, Paul Thinel’s Les Immortels, and two notable movies by Richard Jutras, La belle empoisonneuse and Hit and Run, which won the 2003 Jutra Award for best short film.
A graduate in performance from Option-théâtre at Collège Lionel-Groulx in Sainte-Thérèse, Audrey Talbot played for young audiences immediately after leaving school in 2001 in a play inspired by a Grimm’s fairy tale, De celui qui partit en quête de la peur. She was then in the cast of L’oiseau vert, a commedia dell’arte play mounted by Hugo Bélanger and the Tout à Trac company; Le pays des genoux, created by Gervais Gaudreault and Le Carrousel; La petite voix and Double vie, two plays by Michel Cormier and Théâtre Parminou; and Zurbains 2009, directed by Monique Gosselin and produced by Le Clou.
