Michel Marc Bouchard – författare

Lambda Literary Award, Drama: Michel Marc Bouchard, Tom at the Farm, translated by Linda Gaboriau (Winner)

Following the accidental death of his lover, and in the throes of his grief, urban ad executive Tom travels to the country to attend the funeral and to meet his mother-in-law, Agatha, and her son, Francis – neither of whom know Tom even exists. Arriving at the remote rural farm, and immediately drawn into the dysfunction of the family’s relationships, Tom is blindsided by his lost partner’s legacy of untruth. With the mother expecting a chainsmoking girlfriend, and the older brother hellbent on preserving a facade of normalcy, Tom is coerced into joining the duplicity until, at last, he confronts the torment that drove his lover to live in the shadows of deceit.The lover – the friend, the son, the brother, the nameless dead man – has left behind a fable woven of false-truths which, according to his own teenage diaries, were essential to his survival. In this same rural setting, one young man had once destroyed another young man who loved yet another. Like an ancient tragedy, years later, this drama will shape the destiny of Tom.In a play that unfolds with progressively blurred boundaries between lust and brutality, between truth and elaborate fiction, Bouchard dramatizes how gay men often must learn to lie before they learn how to love. Throughout 2011 and 2012, Tom at the Farm was produced in Quebec and France, as Tom à la ferme, and in Mexico, as Tom en la granja. Award-winning Quebec director Xavier Dolan adapted the play for the screen in 2013, with Caleb Landry Jones in the leading role.Cast of 2 women and 2 men.

At the end of the First World War, to protect his village from the spanish ?u epidemic brought home by returning soldiers, a young priest recently arrived in the Parish of Lac St-Jean commissions a wandering Italian painter to decorate the walls of the local church with a fresco dedicated to the Virgin Mary. The painter is to choose, among four local women all named Mary, a model for his work. The presence of the foreign artist, his choice of a local virgin to serve as a model and the frighteningly strange nature of his work will upset the lives and change the fate of the entire community. The town’s doctor, meanwhile, has his own prescription for what is ailing the villagers. As superstition collides with desire, The Madonna Painter unmasks a bouquet of lies disguised as a fable.Loosely inspired by the events surrounding the creation of the fresco that still adorns the nave of the church in Saint-Coeur de Marie, the author’s native village, the language of the play is not that of its current inhabitants. Bouchard’s characters simply echo the medieval beliefs that coloured the imagination and shaped the destiny of all Québécois, especially those living in its many rural townships until very recently, and inspire this story with their gossip about their neighbours, foreigners and the mythical marital spats between God and Satan. That fresco depicting the Virgin Mary’s ascension was the author’s ?rst encounter with art, with a foreigner and with lies, and Michel Marc Bouchard has said: “In order to portray that fresco, I became a liar and the people from my village became saints and martyrs, artists and models, lovers and misanthropes. I presented their legends the way a ?ea market hawker displays sacred objects that have been stolen and disguised for resale.”

Michel Marc Bouchard’s latest play tells the story of Queen Christina of Sweden, who wreaked havoc throughout northern Europe in the middle of the seventeenth century. An enigmatic monarch, a flamboyant and unpredictable intellectual, a woman eager for knowledge, and a feminist before her time, Christina reigned over an empire she hoped to make the most sophisticated in all of Europe.

In 1649, Christina summoned René Descartes to her court in Uppsala to share with her the radical new ideas emerging from science and philosophy at the time – ideas that contradicted long-held, faith-based views about the world. Astronomer Johannes Kepler had recently proposed the elliptical trajectory of planets – including Earth – around the sun, and Descartes himself contended, despite condemnation from the Church, that individuals, not God, determined their own destiny.

Descartes’s ideas about free will and reason appealed to Christina, who was struggling to reconcile tensions between her rational, thinking self and emotions she dared not name – including her love for a woman. Rather than bow to pressure to conform to the expectations of a nation that demanded she give it an heir, the twenty-six-year-old queen abdicated her throne to convert to Catholicism – rendering her ineligible to rule, according to Swedish law. Was this an act of madness? Or a bold gesture of autonomy by a modern woman born out of her time – one whom the seventeenth century simply could not contain?

Christina, The Girl King premiered at the 2014 Stratford Festival.

Cast of 4 women and 6 men.

Quebec City, 1908. Two priests-to-be are ordered to deliver a letter to a controversial visitor to their city: the legendary French actress, Sarah Bernhardt.As part of her long career, Bernhardt – known to her loyal fans as “The Divine” – visited Canada several times between 1880 and 1917, most often visiting Montreal, but once – just once – alighting in Quebec City. It is this singular historic visit, about which little is known, that Bouchard takes as the backdrop for his play, exploring conservative and progressive veins in competition through turn-of-the-century North America, with a focus on Quebec, that province on the verge of great change.Michaud, the son of the province’s minister of finance, is a theatre lover. Talbot, on the other hand has arrived at the seminary on the very day of Bernhardt’s arrival in town, he comes from a family struggling with poverty and clearly has more pressing concerns. The two are ordered to deliver a letter from the Archbishop forbidding Bernhardt to appear on stage at any point during her one and only visit to Quebec City, on the grounds that she has decided to perform a play in which Adrienne Lecovreur “sings the praises of adulterous love” and “ridicules a man of the cloth portrayed as a plotting habitué of Parisian salons.”And so the stage is set for a battle for the hearts and minds of Quebeckers through these two seminarians: the powerful Catholic Church on one side, and the power of the divine Sarah Bernhardt – and the world of the theatre – on the other. The Divine was commissioned for the 2015 Shaw Festival in honour of George Bernard Shaw and everyone who loves the theatre, and in memory of Sarah Bernhardt, “the woman who dares to say everything that should be left unsaid.”Cast of five women and eight men.

Consumed by fantasies of opulent fabrics and women’s high fashion, a young man desperately tries to restore his mother’s tarnished reputation. Channeling Yves Saint Laurent, his idol and muse, Hugo sets out to right the widespread rumours about his mother, Béatrice, by designing the perfect outfit for her court appearance. Through the story of Hugo and his mother, Michel Marc Bouchard explores the root of artistic creation and explores whether art can be a source of consolation.