Me, Myself and Us

Godot of Samuel Beckett’s play was never very far. We’re just waiting for something. But what? Never mind. How do we define living? How do we define hope? Three young men, reunited randomly in a rather uncertain location, will attempt the impossible: cohabitate. If we were on the moon, this story would entail three spacemen waiting for a rocket.

The trio “Me, myself and us” will juggle with bowling pins the same way they will juggle with emotions. Attempting to fly on a trapeze while discovering their identity during the flight. Throughout the process, they will end up disagreeing a little, standing up for themselves and surprising not one another, but themselves. Where are we? Perhaps, simply on stage, where three companions are throwing themselves into the air, with no defined or premeditated direction. This way they are able to fully experience their new relationship and reveal each other’s common characteristics. There are no offstage wings in this show, everything is open for the public to watch. They can see the characters wandering on stage and suddenly breaking out into their performance. This exposes the show’s live intensity.

Such as two turbines creating electricity, the friction between each character/artist’s personalities is what brings the show to life. The first character is a being who comes one knows where. His long jacket and curly hair gives him a Little Prince type person who would of aged without ever having answered his constant questions and living his life to the fullest. Then there is the Pierrot type character. This one does not have the same sadness painted on his face but does often have his head up in the clouds. He holds on to his trapeze the same way others hold on to their dreams. Finally there is the third companion who is built, smooth and is looking for ways to develop his character. He explores new ways of dressing himself in order to find a new identity that resembles his true self.

There is also the music which is the story’s forth character. The music does not shy away from imposing his anger, his humor or tranquility on this trio who is easily disturbed and influenced by his unpredictability. Certain musical choices (Creedence Clearwater Revival, replicas retrieved from “Enfants du Paradis”) are mixed directly, on the spot, by the artists themselves. This creates an energizing soundtrack for the show. This show explores different disciplines such as circus, and contemporary dance. There are no borders forbidding the artists to cross from one zone to the other.

“Me, myself and us” is a performance that embraces authenticity of technicality. It is a performance that is both spontaneous and of high level. What matters here, is the strong link taking form between the trio, their anger and their hope. The circus techniques are the continuity of their chemistry. What could have been explained in words is represented with bowling pins, canes and acrobatics. “The essence of the juggling scene is more important than the juggling itself”, claim the artists who also believe “there are unexpected moves and errors that happen on stage during the performance”. Gestures have taken the role of words within the ‘Tête d’Enfant’ circus company. The group’s portrait displays the confrontation of unique individualities which feeds the group its mind blowing energy. This energy represents how life constantly generates solidarity. Everyone, young and old, will relate to what the artists are living and will remember how they experienced similar events.

Text by Laurent Ancion


Show:Me, myslef and us
Stage Co-Directors:Naël Jammal, Guillaume Biron, Florent Lestage, Peter James, Philippe Vande Weghe.
Performers:Naël Jammal, Guillaume Biron, Florent Lestage
Light creation:Armando Gomez Rubio
Production:Cie Tête d'Enfant
Co-production: Espace Catastrophe
Centre International de Création des Arts du Cirque (B)
Tohu, Cité des Arts du Cirque (Qc)
Support: Centre Régional des Arts du Cirque Lomme-Lille (F)
La Vénerie/Espace Delvaux (B)