The Question... Director Matthieu Labaudiniére on All My Sons

Why Not?
by Estelle Rosen

Matthieu Labaudiniére is in his third year studying mechanical engineering at McGill University. He was born in Paris, France, but raised in the United States. In addition to his studies, he stays involved in the theatre community and the soccer community around McGill. He is part of a racing team that designs formula style race cars to compete all across the world.

CHARPO: Why does an Engineering student direct a theatre production, and what are the challenges of directing a classic play as your first effort?

LABAUDINIÉRE: Why not? Man is not a one-dimensional creature, but is full of contradictions. Just like he is capable of a whole range of emotions, he is also capable of mastering many skills. In the past year I have acted, directed, studied engineering, given business presentations, written articles about soccer, played soccer, announced soccer games, worked as a camp counsellor, been a frosh leader, and enjoyed the benefits of a healthy relationship. Could I pinpoint one of those that was the most important, that I would have enjoyed doing for the whole year? No, of course not.  Each of those activities helped me grow as a person in its own way. I need to stimulate all dimensions of my personality and that includes engineering and theatre together.

Review: (Ottawa) All My Sons

(photo via Twitter; credit: Maria Vartanova)

Beast of War
by Jim Murchison

Christmas is over. It is time to get back to reality. There are few playwrights that expose reality and lift the veil off the convenient little lies we live with better than Arthur Miller. The Ottawa Little Theatre first performed All My Sons in 1949, just two years after its Broadway debut, but 43 years ahead of Canada's first professional theatre production in 1992. The historical notes in the programme indicate that this is the third time that OLT has performed a production of All My Sons but they have never done Death of a Salesman largely considered to be Miller's greatest work. I don't know why that is, but it doesn't really matter as Miller crafts wonderful dialogue and deals with the broken myth of the American dream in this moody and thoughtful 1947 drama about the continuance of life after World War II. 

Tom Pidgeon’s set is a slice of upper middle class Americana. The picket fence, the wood and wicker lawn furniture, trees and perfect flower bushes frame a beautiful house with a mascot roof. An octagonal window glows from the upstairs guest bedroom. David Magladry’s lighting completes the image of the perfect day in the perfect home on a bright sunny day with just a hint of wispy white cloud on the horizon. Things however are not as they appear.