“For me, Strawberries in January is more than just a pretty romantic comedy. It’s about love, of course. But above all, it’s about our essential need for human relationships, interactions, and communication.” Celebrated Québécois director Frédéric Bélanger thus encapsulates the essence of his latest creation, Strawberries in January – A Musical Fantasy.
Premiering at the Centaur Theatre this week, this musical adaptation of Évelyne de la Chenelière’s beloved play, Des fraises en janvier, explores – profoundly and resonantly –the complexities of modern romance. “It was there at the very beginning, and even more so today in our ultra-connected iPhone era,” he notes.
Strawberries in January – A Musical Fantasy follows four single Montrealers: François, an aspiring screenwriter; Sophie, his quirky ex-flatmate; Robert, a professor with secrets; and Léa, Sophie’s childhood friend. As they navigate love, fate, and connection, this quartet’s lives intertwine in various ways. Directed by Bélanger, the production features the ensemble cast of Eloi Archambaudoin (Robert), Ryan Bommarito (François), Métushalème Dary (Léa), and Madeleine Scovil (Sophie), accompanied by Khalil Bouaziz, Quinn Dooley, Tobias Kimmelman and Christophe Papadimitriou.
Although this production has been a full four years in the making, the idea of turning Des fraises en janvier into a musical has long felt instinctual for Bélanger. “There’s something magical, surreal, and very theatrical about this story. The music in Evelyne’s words already had a special place…,” he explains. So “Audrey Thériault, the team and I simply brought to light something that was, in my humble opinion, already there.”
This English-language adaptation by Bélanger and Thériault features original music by Ludovic Bonnier, Eva Foote, and Habib Zekri. The creative process, which was interrupted by the pandemic, ultimately became a slow and deliberate labour of love. “We decided to take advantage of these many stops to move forward slowly, and try to enrich the score of a little musical that was intended to be ‘folk’ and ‘intimate,’” Bélanger reflects. He and Holmes held a number of creative labs and virtual collaborations, which allowed the team to better define their needs and wants for the work, all while staying true to its essence.
The musical, which is set against the snowy backdrop of Montreal, draws heavily on the city’s culturally rich and romantic atmosphere. Iconic locations like cosy cafés and historic streets ground the characters’ imaginative journeys of love and self-discovery in a setting that is both vibrant and familiar. Montreal’s bilingual and cosmopolitan character mirrors the diversity and connection at the heart of the musical – and for Bélanger, the setting adds a crucial and compelling layer to the story’s energy of positivity and aspiration. “In the cold of our winter… especially in January [and] February… having this warmth and light helps to warm our hearts, put a smile on our faces, and help us survive until spring,” he muses. “It’s a primal feeling based on hope.”
Belanger promises that the musical will resonate with English-speaking audiences while retaining its Québécois origins, thanks to Morwyn Brebner’s “excellent and very faithful” translation, which has enabled a seamless transition between the languages. And he stresses that “music is a language” in itself – which further heightens the storytelling with universal melody.
Ultimately, Bélanger hopes Strawberries in January – A Musical Fantasy will leave audiences feeling uplifted. He hopes for it to be a way “for us all to come together, to be proud, and to feel a true and sincere happiness in seeing and hearing a local romantic comedy and musical that has withstood the test of time”. The musical’s themes of love and connection feel particularly resonant during these long, dark days of – yes, January – when we find ourselves afflicted by a polar vortex at the precise moment when we are most craving warmth.
Reflecting on the production’s hoped-for larger impact, Bélanger offers a word of thanks for the “immense opportunity to create in our two languages: to have a bilingual cast representing our unique and Montreal richness. It’s extraordinary!” Shouting out the French translation of Kate Hennig’s The Last Wife that Eda Holmes is directing at the Théâtre du Rideau Vert, Bélanger marvels at the cross-cultural “dialogue and exchange” that he and Holmes are currently enjoying. He deems it not just “important” but “life-saving”: “This kind of openness was rare, if not non-existent, 10 years ago. I hope that these encounters and initiatives will continue over and over again!”
With its rich musical score and culturally resonant setting and origins, Strawberries in January – A Musical Fantasy offers light in the dark heart of winter. This world premiere at the Centaur Theatre, in collaboration with Théâtre Advienne que pourra, runs until February 9, 2025. The performances on Thursday, January 30 at 8:00 PM, Friday, January 31 at 8:00 PM and Saturday, February 1 at 2:00 PM will have projected French surtitles. Reserve tickets on centaurtheatre.com.
© Arpita Ghosal, Sesaya Arts Magazine, 2025
