For those who have lived in Quebec City for a long time, the word Courville evokes a village from another era that was located on the outskirts of Quebec City, Canada.

The name has since disappeared and Courville has been fused into a suburb that merged later on with Quebec City. But some remember what was distinctive about the place: its immediate vicinity to the Montmorency Falls, the highest in North America, and its Ordovician limestone subsoil that created a multitude of more or less giant caves outcropping under an uncertain surface.

Courville also recalls a more ordinary reality: the Quebec suburbs of the 1970s and their now obsolete bungalows. And, by extension, the concerns of the time. The Cold War, which finds an outlet in exciting hockey tournaments between Canada and Soviet Russia. The sometimes trippy pop of progressive rock. The eternal national psychodrama in which French and English speakers clash, and which will soon be exacerbated. And the beginning of the end of what is called, at that time, the “nuclear family”, this sociological bubble where the mirages of consumption sometimes hide sordid relationships.

On November 15, 1975, Simon is 17 years old, has his own room in the basement of a bungalow in Courville, a widowed mother mixed up with a shifty uncle, an involuntary and painfully permanent tattoo on his chest, a female friend who woos him without much success and a poorly educated athletic male friend. The coming year will precipitate things, the social unrest that is gradually taking place will find dramatic and decisive echoes in the life of the young man.

Courville sketches the portrait of a complex adolescence, where the backdrop of collective euphoria cannot occult the torments of sexual awakening, the weight of the look of others or the obsession of appearances. Throughout the show, the ancestral technique of bunraku is used to bring life to puppets of all sizes that embody Simon and his entourage.

Show Times



  • Olivier Normand
  • Puppeteers
    Wellesley Robertson III, Caroline Tanguay, Martin Vaillancourt


  • Written, designed and directed by Robert Lepage
  • Design and Creative Director Steve Blanchet
  • Assistant Director Francis Beaulieu
  • Associate Set Designer Ariane Sauvé
  • Puppet Design and Building Jean-Guy White and Céline White
  • Composer and Sound Designer Mathieu Doyon
  • Image Design and Production Félix Fradet-Faguy
  • Lighting Designer Nicolas Descôteaux
  • Costume Designer Virginie Leclerc
  • Properties Designer Jeanne Lapierre
  • Production Manager Marie-Pierre Gagné
  • Technical Director - Creation Olivier Bourque and Catherine Guay
  • Production Assistant Véronique St-Jacques
  • Tour Manager Marylise Gagnon
  • Technical Director - Touring Olivier Bourque
  • Stage Manager Francis Beaulieu
  • Head Stagehand Jean-Félix Labrie
  • Lighting Manager Benoît Brunet-Poirier
  • Video Manager Maxime Painchaud
  • Sound Manager Stanislas Élie
  • Puppets, Costume & Props Manager Emilie Potvin and Carol Ann Charette
  • Artistic Consultant - Puppeteers Martin Genest
  • Special effects - Makeup Élène Pearson
  • Set building Astuce Décors, Conception Alain Gagné, Unisson
  • Scenic painting Amélie Trépanier
  • Set building collaborators Geneviève Bournival, Anne Marie Bureau, Carol Ann Charette, Marianne Ferland Dutil, Maude Groleau, Cécile Lefebvre, Mariana Manzano, Marie McNicoll, Luce Pelletier, Noémie Richard, Émily Wahlman
  • Additional images Design Martin Paré and Maxim Boisseau
  • Costume building Par Apparat confection créative
  • Puppet building collaborators Carole White, Camille McMillan, Hélène Renaud, Annabelle Roy, Isabelle Frenette
  • Music copyright clearance Delphine Saint-Marcoux, La Négo
  • Communications Coordinator Nina Lauren
  • Director's Agent Lynda Beaulieu
  • Acknowledgments Claire Bourque, Frédéric Desroches, Dr Michel Labrecque, Richard Loiselle
  • Producer for Ex Machina Michel Bernatchez
  • Associate Producer Hélène Paradis
  • Associate Production - Europe, Japan Epidemic (Richard Castelli assisted by Florence Berthaud)
Public Programming Partners
Conseil des arts et des lettres du Québec Ville de Québec Conseil des arts du Canada Canada

They Said...

«  L’espace de jeu devient ainsi un castelet polymorphe époustouflant, où l’empreinte cinématographique du magicien Lepage atteint des sommets inégalés. »

Dominique Denis, Revue JEU

« Olivier Normand offre une performance très solide, campant une foule de personnages avec beaucoup de justesse. Lepage semble s’être trouvé un héritier de la trempe d’Yves Jacques pour porter ses mots sur scène. Ce n’est pas peu dire. »

Stéphanie Morin, La Presse

« Selon les personnages, Olivier Normand transforme avec énergie et à une cadence ahurissante son maintien, sa voix, ses intonations et modifie avec justesse le rythme des répliques selon le texte. Sa présence sur scène est impressionnante ! »

Micheline Rouette, BP Arts Média

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