Ever since her brother's untimely death, Marie has been fascinated with angels, believing her brother has become one. Now as a young woman, she has dedicated her doctoral thesis to the subject: the sudden portrayal of angels with feet in Renaissance paintings. As Marie tries to analyze the motive behind this, she begins to uncover questions of existentialism, societal perceptions of women, and the meaning of art and life. Her biggest challenge, though, becomes grasping a seemingly impossible understanding of her brother's suicide, and dealing with her own dislocation.
Plays by Evelyne de la Chenelière
When Pierre and Simone planned a vacation to the Irish coast, they were hoping to revive their failing marriage. What they weren't expecting was to stumble upon the body of Mary, a drowned woman, during a walk along the beach. It's not long before curiosity and obsession take over, and the couple begin to piece together Mary's history using both facts and their imaginations. As her story comes alive, Mary's presence integrates itself into Pierre and Simone's lives, resurrecting their memories and regrets, fears and obsessions. Now they must struggle more than ever to revisit the past in order to write their own story.
Playwright and actor Evelyne de la Chenelière has written several plays, including Des fraises en janvier, which was produced in Montreal by Théâtre d'Aujourd'hui and remounted at Théâtre Jean-Duceppe. Her play Au bout du fil was produced by Théâtre de Quat'Sous; as a writer she was involved in Les hommes aiment-ils le sexe, vraiment, autant qu'ils le disent? at Espace Go and L'héritage de Darwin at la Maison Théâtre. Her theatrical home remains Le Nouveau Théâtre Expérimental, where she has premiered three plays: Henri et Margaux, Nicht retour, Mademoiselle, conceived with Daniel Brière, and Aphrodite en 04, conceived with Jean-Pierre Ronfard.