FINALE AU SOL: a review with (almost) no adjectives

I don’t know if the four solos that compose Liliane Moussa’s FINALE AU SOL are always performed in the same order, but I’m hoping they’re not. There’s no reason why they should be, so why not see how their sequence would affect the show? The one that most stood out for me was Marine Rixhon’s (and not just because she shares a name with the heroine of the Jacques Poulin novel I’m currently reading), which might surprise since it doesn’t require the level of physicality that the other three do. Maybe that’s precisely the reason why. Rixhon repeatedly swipes the hair away from her forehead with the tip of her fingers, which she then uses like tentacles to caress the air when her arm is down by her side. It is this smallness that demands our attention. Simon Girard provides the show with momentum courtesy of the electro/synth/techno of Murcof, College, and The Toxic Avenger.

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