“Symphorien” at the Théâtre du Vieux-Terrebonne: like on TV


Forty-five years after the end of its broadcast on Télé-Métropole, symphonic returns, more fun than ever, to the Théâtre du Vieux-Terrebonne until 14 August.

As soon as the curtain opens, viewers will be surprised to find a setting similar to that of the legendary TV series. The entrance door adorned with its stained glass windows, the staircase leading to the bedrooms, the round coffee table in the center of the entrance and the living room with its sink are identical. It seems to be back in the late 70s.

The new version, written by Pierre Huet and Louis Saia, successfully uses the codes installed by the original author, Marcel Gamache, and is intended as a 270And episode of the saga.


On stage we find the colorful characters who populated Madame Sylvain’s (Michelle Labonté) pension where Symphorien (François Chénier) works as a doorman, always flanked by his brother Éphrem (Martin Héroux).

While handsome doctor Jetté returns to retirement, Mademoiselle Lespérance (Nathalie Mallette) remains an old maid and despairs of finding love, even though Oscar Bellemare (Patrice Coquereau), the king of funeral directors, still woos her assiduously despite her back pain.

Madame Sylvain, for her part, maintains an ambiguous relationship with the priest of Dolbeau, a former lover of youth, while the surly Agathe Lamarre, Symphorien’s mother-in-law, settles at home with her cat, after liposuction on her legs. .

As in the TV series, the plot is subtle and we remain in the festival of simple and elementary puns, but which works every time: “You have good working conditions. You get paid as long as you work! ”,“ We ​​can’t afford to be poor ”or even“ I’ll drink the milk when the cows eat the grapes ”are among the memorable jokes of the evening.


The interest of this production lies above all in the exceptional acting of the actors, who understood the essence of the original series. Nathalie Mallette embodies a more lecherous Mademoiselle Lespérance than ever, with a perfect sense of timing. Every appearance of her is tasty.

Patrice Coquereau also offers an incredible interpretation, both in Oscar Bellemare’s burlesque, and in the face of Agathe Lamarre’s hilarious features, to which he gives an even more harsh and vengeful character.

As for François Chénier, he simply resembles Gilles Latulippe, who played this character in the series. It’s all there: his gait, his habit of rocking to his feet, his hands in his pockets, his gestures and the way he talks.

The staging by Louis Saia and Pierre Séguin is effective and without downtime, although sometimes the story gets a little longer.

Nostalgics will find their account completely. The youngest or those who have not experienced the series will be dazzled by so much talent.

The game symphonic it is definitely a summer staple.


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