Theatre review: Raw emotion pervades Joey Lespérance’s Michel(le) at Théâtre la Seizième
Solo tribute to late sibling dives deep into the Vancouver actor’s past
Joey Lespérance in Michel(le).
Théâtre la Seizième presents Michel(le) at Studio 16 to June 8, in French with English surtitles except on May 31
JOEY LESPERANCE’S NEW solo show Michel(le) is a love letter to his late sibling, a tribute that would have made his “froeur” proud.
Michel(le) takes its title from Lespérance’s family member, who, as a boy named Michel, loved playing dress-up in his mom’s clothes. He transitioned to Michelle and had a successful run as a drag artist in Montreal, then eventually transitioned back to Michel. He died an untimely death that devastated his family. When Lespérance was cleaning out his apartment after his funeral, he found a letter in which Michel(le) said his ultimate dream was to work in theatre. By sharing his story, Lespérance is keeping that dream alive.
The minimalist set design by Patrice Charbonneau-Brunelle has Lespérance at the outset sitting in a chair at a table in front of an ivory curtain. He shares his life history in Michel(le), evoking his macho father and sultry mother, regaling the audience with stories of how, as kids, he and his brother would put on shows in their backyard for family and friends. From the get-go, Michel(le) would entertain people in his mom’s dresses and heels, much to his brutish dad’s chagrin. Lespérance, who came out as gay when he was 20, recalls the homophobic slurs slung at him and his brother—from the neighbourhood, and from their own father. The happiest he ever saw his sibling was when she was living as a woman.
Lespérance’s monologue is filled with raw emotion as he leads viewers through his sibling’s struggles and his own regrets. He celebrates his “froeur” (the term a combination of the French words frère and soeur for brother and sister respectively) by going behind the curtain to change out of his jeans and purple shirt into a glittery cream gown and blond wig, the look complete with lipstick and powder, to bring the piece to a triumphant close.
With the play directed by Esther Duquette, Michel(le)’s dream lives on. Lespérance veers from vulnerable to victorious in his assured performance. The moving show also serves as a plea for universal love and acceptance. 
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