Presented for the first time in the media on April 23 at the Center of Today’s Theater, “The Testament of the Celebrities” by Jon Lachlan Stewart is on display until May 9 and offers a satirical dive into the shores of contemporary stardom.
This play, written by Jon Lachlan Stewart, imagines a catacomb during the Oscars ceremony, leaving a generation of child actors as heirs to a foundation tasked with financing the sequel to a cult children’s fantasy series called “Grimbelgitch”. The explosion that occurred at the Oscars amphitheater was actually caused by the series author, Dame Sylvia Grey, who was seeking to end her life.
This controversial author, known for her right-wing views, leaves behind a colossal fortune intended to perpetuate her work infinitely for future generations, even if the original young actors have aged. They will then be replaced by simulacra generated by artificial intelligence, replicating their faces, expressions, looks, voices, and hairstyles.
The three excellent actors Gabriel Favreau, Chloé Germentier, and Rebecca Vachon are hilarious in an almost acrobatic mechanic, given the numerous demanding changes in tone, characters, and topics. The successful lighting supports the mood variations and character asides, akin to transitioning between online videos. A laser system captures and copies the actors’ identities and DNA to reproduce them endlessly.
While it may be confusing at times, the game remains captivating, as we also laugh at our own flaws. The fantastic adventures of these idols with superpowers continue to captivate. The abundance of clichés often shifts the overall tone towards the absurd. Caricatures and perspectives on the shores of stardom abound. The random incantations by the characters lead to dramatic repercussions: abuse, sex, drugs, alcohol, and even depression.
After 90 minutes of this fast-paced exercise, one may feel out of breath despite the verbal and physical mastery of the actors. However, there seems to be a lack of direction in this ordeal. The numerous scattered themes do not always find coherence despite everyone’s efforts and talent. It’s entertaining, but the issues of stardom and artificial intelligence, capable of replacing actors entirely, are not fully explored.
Nevertheless, the entertainment operates despite the wandering nature of this humoristic social critique. The path to awareness is still worth the detour.
To be seen until May 9 at the Center of Today’s Theater.
[This article was written by Michel Jolicoeur, a journalist.]
