Robert Lévesque, Radio-Canada, April 2003
“Carole Nadeau takes Normand Chaurette’s play and turns it on its head. She creates a sort of visual spectacle, using mirrors and the effects of mirrors. The 'technology' side of it is fairly extraordinary. In this stage direction, we never really know where the actors are, because they are always reflected in something else. This is an hour and twenty minutes of stage magic. I think Carole Nadeau is probably the next big personality in theatre. I weigh my words carefully. She has what is called a 'director’s temperament'.”
Marie-Andrée Brault Cahier Jeu 108, September 2003
“There is a tendency to put ‘textual’ theatre in opposition to ‘image-based’ theatre, as though they were two completely distinct and irreconcilable approaches to contemporary theatre. Such expressions, so conveniently general and restrictive that they ought to raise suspicions immediately, fail to provide a satisfactory description of several theatrical works that combine a rigorous approach to textual and visual (and often sonic) research, in pieces that sometimes recall dance theatre. All technological resources may be brought to bear, within the means available to artists, in order to make the stage a place where reality, nightmares, dreams and strangeness are superabundant. Carole Nadeau, a text and image woman, has succeeded in taking her place as one of the important players in the revival of theatre in Québec.”
Hervé Guay, Le Devoir, April 2003
“Carole Nadeau’s stage directing brings together the stage character and his reality as a person under the influence of psychiatry, and she does it with a rare virtuosity. The theatrical space is in the hands of a master as the images jostle between the effects of translucent mirrors, projections, shadows and reflections. Reality is distorted, we are immersed in madness at every turn. The Nadeau effect makes Chaurette unrecognizable, which is undoubtedly the best compliment one can give a stage director. For nobody would have understood (approached) this drama as she did. As a result, she essentially reveals the monstrosity and madness hidden behind the innocent beauty of formal games.”
Anne-Marie Cloutier, La Presse, April 2000
“Provincetown Playhouse is a disjointed, inventive, explosive spectacle, at once a thriller, comic strip and collage, and revisited by Carole Nadeau it is indeed unrecognizable. Fascinating. The topic of madness, at the heart of the play, is powerfully and effectively treated. The play’s frenetic pace and scripting conspire to take us into the epicenter of delirium. Provincetown Playhouse must be seen. And seen again. And taken in. For it calls upon all the senses, as in going to a successful party where the music, the lighting, and the people you meet there sweep you off your feet.”
