Spring, sun, green. Here are some ideas to celebrate the arrival of good weather.

Luc Bourgeois, Mani Soleymanlou, Bruno Marcil and Didier Lucien share the stage in the play Abraham Lincoln goes to the theater presented at the Théâtre du Nouveau-Monde until April 8. Although it is a difficult piece to summarize, according to journalist Stéphanie Morin, “ Luc Bourgeois and Mani Soleymanlou (unrecognizable) are brilliant in the roles of fake Laurel and Hardy. Their complicity, this astonishing way they have of complementing each other, but above all their talent for endorsing the physical humor – and very slapstick – which enamels the piece… everything in their interpretation is high-flying. »

Music, encounters, dance, sharing… This is what we witness when we visit the artistic route of the Underground Art Festival. About thirty artists exhibit in the spaces of Place Ville-Marie, the World Trade Center, the Palais des Congrès, the Jacques-Parizeau building and the Place de la cité internationale until April 9. “Underground art is, once again this year, more than an art display. It’s a way of animating and artistically transforming the city’s underground network,” explains journalist Éric Clément in his article published on March 18.

The tour of the play Sainte-Marie-la-Mauderne continues. It stops at the Maison des arts Desjardins in Drummondville on March 22, at 7:30 p.m., as well as at the Salle André-Mathieu in Laval, on March 24, also at 7:30 p.m. The piece stars Michel Rivard , Normand Brathwaite and Fayolle Jean Jr. “ One of the great successes of this show remains the beautiful staging of Frédéric Blanchette, who manages, with two or three pieces of string, to take us from one place to another , on a windswept island where houses cling to the side of rocks , mentions journalist Stéphanie Morin in her review published on July 2, 2022.

With the partnership of electronic music festival Mutek, the International Festival of Films on Art (FIFA) will close its 41st edition with a performance by AKAntu and zi! on Sunday. The invitation: a sensory experience with Afrobeat and electro sounds carried by two emerging artists from Montreal, at UQAM’s Agora du Cœur des sciences. The event is free and requires no reservation.

The Love Party

Mezzo’s 25th anniversary festivities, which began on Tuesday, continue until May 1st with an exciting line-up of 25 iconic concerts and 17 live events broadcast from Paris, London, Prague, Amsterdam and Barcelona, ​​among others. Among the latter are pianist Bruce Liu and the Montreal Symphony Orchestra on April 19. As for the concerts that have marked the last 25 years of the channel devoted to classical music, dance and jazz, let us note Claudio Abbado and Maurizio Pollini at the Lucerne Festival, Joyce DiDonato and Juan Diego Flórez at Covent Garden, then Nikolaus Harnoncourt and Jonas Kaufmann at the Zurich Opera.

Choreographers Emmanuelle Lê Phan and Elon Höglund, the duo behind Tentacle Trible, present their colorful new creation, Prism. Borrowing from street style, martial arts and contemporary dance, the five dancers (including Lê Phan and Höglund) deploy their syncopated gestures in front of the mirrors erected on the stage. Result: their image is reproduced and deconstructed ad infinitum in a chromatic and plural ballet. A kaleidoscopic performance presented until March 25 at the Studio-Théâtre of the Wilder Building.

Twilight for a Killer retraces the career of hitman Donald Lavoie (Éric Bruneau). Working for mob boss Claude Dubois (Benoît Gouin), Donald Lavoie finds himself hunted by his clan after being compromised in a double murder case. He will then be an informant with Inspector Roger Burns (Sylvain Marcel). “ Raymond St-Jean rose to the challenge well by avoiding any glamorization of a man initially endowed with charisma, whose fall was as steep as his rise was rapid within the underworld of southwestern Montreal. Éric Bruneau is impressive in the role of Donald Lavoie by revealing both the relentless nature of a killer capable of coldly executing orders, as well as the more fragile aspect of an individual in need of validation,” writes the journalist Marc-André Lussier in his March 10 review.