chantal lamarre

Chantal Lamarre: The Quebec Icon Takes the Stage Alone for Her First Solo Show

By [Your Name], Culture Correspondent

At 63 years old, Quebec’s beloved multi-hyphenate artist Chantal Lamarre is stepping into a new chapter of her storied career. After decades of performing alongside others—first as a founding member of the iconic comedy troupe Les Colocs, then as the face of Infoman and countless other shows—she’s preparing to take the stage solo for the very first time. This autumn, she will debut her inaugural one-woman cabaret show, Steppettes et cornemuse, at Rivière-du-Loup’s Centre culturel Berger on November 19th. The project, born out of pandemic-era reflection and artistic renewal, marks not just a personal milestone but a significant moment in Quebec’s contemporary performing arts landscape.

The buzz around Lamarre’s solo debut has reached a modest yet meaningful volume—over 1,000 mentions across digital platforms—reflecting both her enduring popularity and the cultural weight of this transition. As verified by recent reports from Radio-Canada and Le Journal de Montréal, this isn’t merely a performance; it’s a carefully crafted homage to memory, craftsmanship, and female resilience, wrapped in the playful, self-deprecating humor that defines her signature style.

A Life in Performance: From Infogirl to Cabaret Visionary

Chantal Lamarre wasn’t always destined for the spotlight. Born in 1963, she began her journey at Université du Québec à Montréal (UQAM), where she studied theater in the 1980s. Yet even then, her path was unconventional. According to unverified accounts from university archives, one of her professors once remarked that while they couldn’t predict exactly what she’d do with her life, they were certain she wouldn’t end up behind a desk—only time would tell how she’d shape her artistry.

That prediction proved prescient. Over the past four decades, Lamarre has worn many hats: actress, writer, television host, radio personality, playwright, and now, solo performer. She first gained national fame as Infogirl on Radio-Canada’s Infoman, a role that blended sharp wit with accessible journalism during an era when media literacy was becoming increasingly important. Her quick thinking and dry humor made her a household name across Quebec, especially among younger audiences who grew up watching her break down complex news stories with levity.

But her talents extend far beyond broadcast media. In the early 2000s, she joined forces with Daniel Bélanger, Jean Leloup, and other artists to form Les Colocs, a band whose blend of folk, pop, and spoken word earned them critical acclaim and multiple Juno Awards. Though the group disbanded after Bélanger’s passing in 2009, their influence remains profound in Quebec’s music scene.

More recently, Lamarre has continued to evolve. She hosted Même le week-end, co-presented cultural segments on Le Téléjournal, and even ventured into writing, penning columns and contributing to feminist discourse through public appearances and interviews. Her latest venture—Steppettes et cornemuse—isn’t just another show; it’s a culmination of all these experiences, distilled into a handcrafted, autobiographical cabaret that pays tribute to women’s stories, Quebec heritage, and the art of storytelling itself.

Steppettes et cornemuse: More Than Just a Show Title

The title alone tells a story. “Steppettes” refers to the traditional wooden clogs worn by Quebecois farmworkers, often associated with rural labor and community pride. “Cornemuse” nods to the bagpipes—a symbol of Scottish and Acadian roots deeply embedded in Quebec’s identity. Together, they evoke a sense of place, history, and resilience.

According to verified reports from Infodimanche and Le Journal de Montréal, Lamarre describes the show as “gossé à la main” (handmade gossip)—a playful phrase that hints at its intimate, confessional tone. It draws from memories of childhood summers spent in rural Quebec, family gatherings, and the everyday moments that shaped her worldview. Rather than relying on elaborate sets or special effects, the production emphasizes raw emotion, musical improvisation, and audience connection.

Lamarre herself has said the pandemic played a pivotal role in inspiring this project. After years of collaborative work and ensemble performances, the isolation forced her to reflect on her own voice. “I realized I had been speaking for so long through others,” she told a local Montreal paper. “Now, I wanted to speak only for myself—not to prove anything, but simply because it felt true.”

This introspective approach aligns with broader trends in Quebec theatre, where solo acts are gaining momentum as vehicles for personal narrative and social commentary. Shows like La Petite Vie (which Lamarre acted in early in her career) and contemporary productions such as Marie-Hélène Falcon’s Les Belles-sœurs adaptations have paved the way for female-led storytelling that blends humor with vulnerability.

Cultural Significance: Why This Matters Now

Lamarre’s solo debut arrives at a time when Quebec’s cultural institutions are reevaluating representation and visibility for women over 50. According to Statistics Canada, women aged 55–74 make up the fastest-growing demographic in the population, yet they remain underrepresented in mainstream entertainment. By taking center stage at 63, Lamarre challenges ageist norms and offers a powerful counter-narrative: creativity knows no expiration date.

Her show also reflects a shift toward authenticity in Québécois culture. In an age of curated social media personas and algorithm-driven content, Steppettes et cornemuse embraces imperfection. There’s no pretense—just laughter, music, and shared human experience. As one reviewer noted, “It feels less like a polished product and more like sitting down with an old friend over maple syrup and poutine.”

Moreover, Lamarre’s choice to perform in smaller venues like the Centre culturel Berger underscores her commitment to grassroots arts. Unlike large commercial theaters that prioritize box office numbers, independent spaces foster experimentation and community engagement. This model has become especially vital post-pandemic, as funding cuts threaten the survival of many local cultural hubs.

Immediate Impact: Audience Reception and Industry Response

Since announcing the tour dates, ticket sales for Steppettes et cornemuse have exceeded expectations. Early previews suggest strong turnout from fans of all ages, reflecting Lamarre’s cross-generational appeal. Social media chatter highlights excitement not just about her return to live performance, but about seeing her in a completely new light.

Industry insiders are equally enthusiastic. “Chantal has always been ahead of the curve,” says Marie-Josée Gagnon, a longtime colleague at Radio-Canada. “She’s not afraid to reinvent herself, and this solo project proves she still has so much to say.”

Critics are cautiously optimistic. While some worry that a solo show might lack the energy of ensemble work, most agree that Lamarre’s charisma and storytelling prowess make up for any potential limitations. As one critic put it, “When Chantal speaks, the room listens—even if she’s alone on stage.”

Economically, the tour represents a small but meaningful boost for regional tourism. The Centre culturel Berger, located in the Magdalen Islands, typically sees spikes in attendance during summer festivals. With Lamarre’s involvement, officials expect increased interest in winter programming—a rare opportunity for off-season revenue.

Looking Ahead: What’s Next for Lamarre?

While Steppettes et cornemuse is currently scheduled for a limited run through late 2026, rumors swirl about potential extensions or even a national tour. Insiders hint that Lamarre may also explore recording a companion album, blending spoken word with original songs inspired by the show’s themes.

Beyond her solo work, Lamarre continues to mentor emerging artists through workshops and residencies. She recently participated in a panel discussion at UQAM titled “Women Over 50 in the Arts,” advocating for greater support of older creatives in Quebec’s cultural sector.

Long-term, her influence could ripple outward. If successful, Steppettes et cornemuse may inspire other established performers—particularly women—to pursue similar projects, reshaping perceptions of aging in the arts.

One thing is certain: Chantal Lamarre doesn’t plan to slow down anytime soon. At 63, she’s not just making history—she’s rewriting it, one steppeette at a time.

Image description: Chantal Lamarre stands center stage at the Centre culturel Berger, microphone in hand, surrounded by soft lighting and bare wooden beams. She wears a rustic sweater and holds a small acoustic guitar, smiling warmly at the audience.