Slideshow 887
// Tours


  • Written, directed and performed by
    Robert Lepage
  • Creative Director and Ideation
    Steve Blanchet
  • Dramaturg
    Peder Bjurman
  • Assistant Director
    Adèle Saint-Amand
  • Composer and Sound Designer
    Jean-Sébastien Côté
  • Associate Set Designer
    Sylvain Décarie
  • Lighting Designer
    Laurent Routhier
  • Image Designer
    Félix Fradet-Faguy
  • Associate Properties Designer
    Ariane Sauvé
  • Associate Costumes Designer
    Jeanne Lapierre
  • Production Manager
    Marie-Pierre Gagné
  • Production Assistant
    Véronique St-Jacques
  • Tour Manager
    Samuel Sauvageau
  • Technical Director
    Paul Bourque
  • Assistant to the Technical Director
    Olivier Bourque
  • Stage Manager
    Nadia Bélanger
  • Sound Manager
    Olivier Marcil
  • Lighting Manager
    Elliot Gaudreau
  • Video Manager
    Nicolas Dostie
  • Costumes & Properties Manager
    Isabel Poulin
  • Head stagehand
    Chloé Blanchet
  • Additionnal images
    Donald Gordon (MSTC/CollectionCN:X-40842) used with permission of the Canada Science and Technology Museum
  • Director's Agent
    Lynda Beaulieu
  • An Ex Machina production
  • Commissioned by
    the TORONTO 2015 Pan Am / Parapan Am Games arts and culture festival, PANAMANIA, presented by CIBC
    in co-production with
    le lieu unique, Nantes
    La Comète - Scène nationale de Châlons-en-Champagne
  • Associate Production - Europe and Japan
    (Richard Castelli, assisted by Chara Skiadelli, Florence Berthaud and Claire Dugot)
  • Associate Production - The Americas, Asia (except Japan), Oceania, NZ
    Menno Plukker Theatre Agent
    (Menno Plukker, assisted by Sarah Rogers and Dominique Sarrazin)
  • Producer for Ex Machina
    Michel Bernatchez, assisted by Vanessa Landry-Claverie and Valérie Lambert
  • Ex Machina is funded by the Canada Council for the Arts, Quebec's Arts and Literature Council and the City of Quebec.



887 is a journey into the realm of memory. The idea for this project originated from the childhood memories of Robert Lepage; years later, he plunges into the depths of his memory and questions the relevance of certain recollections. Why do we remember the phone number from our youth yet forget our current one? How does a childhood song withstand the test of time, permanently ingrained in our minds, while the name of a loved one escapes us? Why does meaningless information stick with us, but other more useful information falls away?

How does memory work? What are its underlying mechanisms? How does a personal memory resonate within the collective memory?

887 considers various commemorative markers—the names of parks, streets, stelae and monuments—and the historical heritage around us that we no longer notice. Consequently, the play also focuses on oblivion, the unconscious, and this memory that fades over time and whose limits are compensated for by digital storage, mountains of data and virtual memory. In this era, how is theatre, an art based on the act of remembering, still relevant today?

All of these questions are distilled into a story where Lepage, somewhere between a theatre performance and a conference, reveals the suffering of an actor who—by definition, or to survive—must remember not only his text, but also his past, as well as the historical and social reality that has shaped his identity.


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