Nathalie Claude is a Montreal based actor, director, dancer, choreographer, writer, musician, clown, artistic coach, and dramaturg.
As an actor she has over 50 professional theatre, dance, film and television credits. Her solo collaborative creations have toured across Canada, USA and Europe and garnered prizes and extensive media attention.
In the last 30 years she has been performing with Omnibus, Le Pool, Carbone 14, Pigeons International, Brouhaha Danse, Théâtre PÀP, Théâtre Il-va-sans-dire, Créations Diving Horse, Montréal Danse, Nouveau Théâtre Expérimental, Sybillines, Imago Theatre, The Other Theatre, Buddies in Bad Times Theatre, La Messe Basse and Cirque du Soleil, touring in over 20 countries. She has appeared in several Canadian films, and television series, and for 6 years played a lead character on Quebec’s beloved sitcom, KM/H. In the fall of 2008 Nathalie won Best Actress at the MECCA awards (Montreal critic circle awards) for her role as Emily the « Pig » in the Imago Theatre production of The Baroness and the Pig, by Micheal Mackenzie, directed by Catherine Bourgeois.
She is a member of Momentum; a Montreal theatre company comprised of 9 artists with distinctive visions (Céline Bonnier, Nathalie Claude, Stéphane Crête, Stéphane Demers, Dominique Leduc, Jean-Frédéric Messier, Sylvie Moreau, François Papineau, Marcel Pomerlo). They are united in the shared desire to create contemporary works, and transcend the boundaries of the discipline. Her own creations with the company include, the critically acclaimed Les Filles de Séléné (1999-2001), a physical theatre piece for 8 women performed in a convent, La Fête des Morts co-created with Céline Bonnier (2002-2004), a theatrical happening for 11 actors, created and presented in a cemetery (nominated in 2004 for Best Director, and Best Production of the Year, by the Académie Québéçoise du Théâtre) and Limbes/Limbo (2004) a co-creation with the dancer Lin Snelling, co-produced by Usine C: a dance theatre piece inspired by the bilingual text of Nancy Huston that pays hommage to Samuel Beckett.
Nathalie has also created six physical theatre solos. Firstly: The Sadness Trilogy, comprised of The Luminous Shattered One, Spleen, and Popstar, the Sad One (1999-2003). They explore very sad moments of her life in a luminous and poetic manner. They were created for Edgy Women Festival at Studio 303 in Montreal, and toured to Toronto Hysteria Festival, New York Performance Mix Festival , and Teatro Della Limonaia in Florence, Italy. In 2005 she began the creation of her second trilogy : The Madness Trilogy; exploring the psyche and human turmoil in a form of a disjointed fairytale with Rabbit-I. She performed it through the years again in Montreal, Toronto, New York as well as in Lublijana, Slovenia for the City of Women Festival, and at Ausland Art Space in Berlin, Germany.
Then in 2006 she created and presented the second in this solo series : Broken Brain 101, an eccentric study of clinical madness throughout women’s history, which played at Edgy Women, Hysteria, Performance Mix and at the Montreal Fringe, for which she received the “Audience Award” given by TOHU (La Cité des Arts du Cirque).
In October 2008, with Momentum and co-produced with Usine C, she created her most complex solo piece to date, as the finale of The Madness Trilogy: Le Salon Automate.
A play where modern robotics meet existential drama in a stunning display of art and technology.
Le Salon Automate is set in a fictitious turn-of-the century literary salon ; it is a burlesque and surreal confrontation, an infernal« huis-clos» between a hostess (Nathalie Claude) and her three distinguished guests. « The Dandy Poet », « The Cabaret Artist » and « The Drinking Patroness » : three authentic human-size robots, filling an ultra-modern solitude with their conversation, talent and wit.
It was presented at Usine C in Montreal for a three week sold-out run, and performed in it’s English version :
The Salon Automaton as part of Buddies in Bad Times Theatre in Toronto, for it’s 2009-2010 season.
The show toured in Quebec province, in various theatres, and festivals such as Théâtre La Rubrique and Maniganses/ Jonquière, Théâtre du Bic/ Rimouski, and Montreal International Puppet Festival : Festival de Casteliers, and in the Maisons de La Culture de Montréal.
The text of Le Salon Automate /The Salon Automaton is published in French through Les Herbes Rouges and in English, through Playwrights Canada Press, in the theatre anthology : Once More, With Feeling : Five Affecting Plays.
In 2009 she was invited by the Montreal Museum of Fine Arts to co-design the largest-ever retrospective of works by the celebrated pre-Raphaelite British artist, John William Waterhouse (1849-1917): The Garden of Enchantment. Then in 2010 she directed the opera by Gertrude Stein, Doctor Faustus Lights the Lights for the Theater Department of Concordia University in Montreal.
She is also a very active and in-demand MC for cabarets and festivals of all genres, and was for 4 years (2008-2012) an artistic coach for actors, characters, and clowns for Cirque du Soleil. From 2012-2015, she toured with Cirque du Soleil’s – Amaluna, directed by Diane Paulus, in which she created and played the male clown « Jeeves ».
Since her return to Montreal, she created for the Phenomena Festival (2015): a new physical and musical duo work : Reditum Lux, in collaboration with singer, cellist, performer Julie McInnes, as well as co-hosted and co-directed with Stéphane Crête, the extravagant MomentumDada Cabaret (2016). In 2017 (remounted in 2018), she was part of the creation of Omnibus « Dans la tête de Proust » written and directed by Sylvie Moreau, at Espace Libre. And in the summer of 2017 with Momentum, she directed and created the street theater show: « Mange Ta Rue » staged in a colorful and theatrical « food truck », as an hommage to Montreal writers, as part of the 375th anniversary of Montreal. In October 2017, she performed at Théâtre Fred-Barry, in the production La femme la plus dangereuse du Québec, a play based on infamous Quebec poetess, Josée Yvon, directed by Maxime Carbonneau/ La Messe Basse.
And in December 2017 Nathalie was invited to perform her new solo ROSES_BOX at Buddies in Bad Times Theater in Toronto, for the book launch of QUEER PLAY, an Anthology of Queer Women’s Performance and Plays (Playwrights Canada Press), in which two of her solo creations are published in their script version. In 2018, she will take part of the show at Théâtre Denise-Pelletier: Prouesses Et Épouvantables Digestions Du Redouté Pantagruel, directed by Philippe Cyr.
In the winter of 2019, she will be directing the Molière classic : The Learned Ladies, for the Theater Department of Concordia University, in Montreal.