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Tout est calme dans les hauteurs

Thomas Bernhard / Jean-François Sivadier

Théâtre du Rond-Point

Acheter

18 juin — 4 juil. 2026

English

“Tout est calme dans les hauteurs” by Thomas Bernhard and directed by Jean-François Sivadier is a delightfully cynical savory comedy not to be missed. Played with a sumptuous authority by: Nicolas Bouchaud, Norah Krief, Frédéric Noaille, Juliette Bialek and Valérie de Champchesnel: the play unfolds, with deceptive simplicity, the complex interactions between the actors and the intentions of the author. This oxymoron may be credited to the light hand of Jean-François Sivadier giving ample freedom to his troupe of actors to adlib and spoof their own characters.
Make no mistake: this play is a players play to be played; the text gives the actors a rare chance to distinguish between the signal and the noise in their interpretation of the ridiculousness, the avidness and vanity of the utter egocentricity and pompous reactions of the characters and their obviously contrived situations, which flatter their imaginary importance. The nothingness of their conceits is a pleasure to see and hear from an exceptionally gifted group of players!

Français

« Tout est calme dans les hauteurs » de Thomas Bernhard et réalisé par Jean-François Sivadier est une comédie cynique savoureuse à ne pas manquer. Interprétée avec une autorité somptueuse par : Nicolas Bouchaud, Norah Krief, Frédéric Noaille, Juliette Bialek et Valérie de Champchesnel : la pièce déploie, avec une simplicité trompeuse, les interactions complexes entre les acteurs et les intentions de l'auteur. Cet oxymore peut être attribué à la lumière de Jean-François Sivadier, qui a donné une grande liberté à sa troupe d'acteurs pour improviser et parodier leurs propres personnages.
Ne vous y trompez pas : cette action est celle d'un joueur à jouer ; Le texte offre aux acteurs une rare occasion de distinguer le signal du bruit dans leur interprétation de l'absurdité, de l'avidité et de la vanité de l'égocentrisme absolu et des réactions pompeuses des personnages et de leurs situations manifestement artificielles, qui flattent leur importance imaginaire. Le néant de leurs idées est un plaisir à voir et à entendre de la part d'un groupe de joueurs exceptionnellement doués !

Cast List

Text Thomas Bernhard
Directed by Jean-François Sivadier
French translation Claude Porcell
Artistic collaboration Nicolas Bouchaud and Véronique Timsit
With Nicolas Bouchaud, Norah Krief, Frédéric Noaille, Juliette Bialek and Valérie de Champchesnel
Scenography Marguerite Bordat
Costumes Virginie Gervaise
Sound design, general manager, and sound Jean-Louis Imbert
Lighting design and direction Jean-Jacques Beaudouin
Stage manager/dresser: Valérie de Champchesnel
Mityl Brimeur wigs and make-up
Companionship directed by Julien Vella
Trainee director Auriane Buchet
Administration and distribution François Le Pillouer

Lieu - Théâtre du Rond Point

Review by: Patrick Kevin O'Hara

Date line: Thursday the 18th of June 2026

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Immaqaa, ici peut-être

Mathurin Bolze

Théâtre du Rond-Point

Acheter

5 — 14 juin 2026

immaqaa ici peut etre photo christophe raynaud de lage

English

With “Immaqaa, ici peut-être,” Mathurin Bolze has created an allegorical movescape exemplifying the surreal potentialities of a parallel world explored by transcendental angels, whose physical virtuosities use an augmented vocabulary of circus arts and whose existence are realized by the marvelous artists: Mattéo Callewaert, Dario Carrieri, Corentin Diana, Anahi De Las Cuevas, Tamila De Naeyer, Helena Humm, Maxime Seghers, and Léon Volet alternating with Joana Nicioli, and complemented by a lyric soundscape of extraordinary poetic beauty.
The stage machinery, a work of genius by Nicolas Julliand, provides the perfect counterpoint to Bolze’s visual ectoplasmic world of the impossible made existentially real. Giving sustenance to the concept, a creative team has united in creating and evoking an irreal world, extoling an existential beauty whose ephemerality gives value to a disappearing world of ever greater rarity which is exemplified and parallelled in the video projections of Orin Camus.
A must see for all who share a love for the need to preserve and revere our beloved Ghia.

Français

Avec « Immaqaa, ici peut-être », Mathurin Bolze a créé un moveescape allégorique illustrant les potentialités surréalistes d'un monde parallèle exploré par des anges transcendantaux, dont les virtuosités physiques utilisent un vocabulaire élargi des arts du cirque et dont l'existence est réalisée par les artistes merveilleux : Mattéo Callewaert, Dario Carrieri, Corentin Diana, Anahi De Las Cuevas, Tamila De Naeyer, Helena Humm, Maxime Seghers et Léon Volet alternant avec Joana Nicioli, et complétés par un paysage sonore lyrique d'une beauté poétique extraordinaire.
La machinerie scénique, une œuvre de génie de Nicolas Julliand, offre le contrepoint parfait au monde ectoplasmique visuel de Bolze de l'impossible rendu existentiellement réel. Nourrissant ce concept, une équipe créative s'est unie pour créer et évoquer un monde irréel, exaltant une beauté existentielle dont l'éphémère donne des valeurs à un monde disparu d'une rareté toujours plus grande, exemplifiée et mise en parallèle dans les projections vidéo d'Orin Camus.
Un incontournable pour tous ceux qui partagent l'amour de la nécessité de préserver et de vénérer notre bien-aimée Ghia.

CAST LIST

Conceived and directed by Mathurin Bolze
Dramaturgy Samuel Vittoz
With Mattéo Callewaert, Dario Carrieri, Corentin Diana, Anahi De Las Cuevas, Tamila De Naeyer, Helena Humm, Maxime Seghers, Léon Volet alternating with Joana Nicioli
Musical and sound design Philippe Le Goff and Jérôme Fèvre
Co-composition cello Hortense Airault
Scenography Gala Ognibene
Stage Machinery Nicolas Julliand
Video Orin Camus
Lighting Victor Egéa
Costumes Clara Ognibene
Stage manager Étienne Debraux, Gala Ognibene, Robert Benz, Baptiste Charpentier
With excerpts from Un monde sans rivage by Hélène Gaudy (Actes Sud editions, 2019) Additional music by Kreng, Geins't Naït & L., Petitgand & Scanner, Nicolas Jaar, Raul Refree, Colin Stetson, David Ralicke & Jeff Silverman, David Moss & Koichi Makigami, Soundwalk Collective / Aurelien Riviere, Simone Merli, Stephan Crasneanscki & Zacharias S. Falkenberg, Nomine'srobot, Mezerg, King Midas Sound & Fennesz

Production Mentions

Production Compagnie Les Mains les Pieds et la Tête Aussi Coproduction Maison de la Danse – Pôle européen de Création (Lyon), UTOPISTES - Cité Internationale Des Arts du Cirque, La Brèche – Pôle national Cirque de Normandie, Théâtre de Sartrouville et des Yvelines – CDN, Scène nationale de Bourg-en-Bresse, Espace des Arts – Scène nationale de Chalon-sur-Saône, Château Rouge – Scène conventionnée Annemasse, MC2 : Maison de la Culture de Grenoble – Scène nationale, Bonlieu – Scène nationale d’Annecy, Malakoff scène nationale Théâtre 71, Scène nationale de l’Essonne, MC93 - Maison de la Culture de Seine-Saint-Denis à Bobigny (ateliers décor) Soutiens Convention Institut français / Ville de Lyon, ministère de la Culture – Direction générale de la Création artistique, dispositif Jeune Cirque national du CNAC de soutien à l’insertion de jeunes diplômé·es du DNSP d’artiste de Cirque, dispositif d’insertion professionnelle de jeunes diplômés de l’ENACR (Rosny-sous-Bois) Accueil en résidence Maison de la Danse - Pôle européen de création (Lyon), La Brèche – Pôle national Cirque de Normandie, Bonlieu – Scène nationale d’Annecy, MC2 : Maison de la Culture de Grenoble – Scène nationale, Scène nationale de Bourg-en-Bresse, Espace des Arts – Scène nationale de Chalon-sur-Saône, CNAREP Chalon dans la Rue, Le Vellein – Scène de la CAPI, Théâtre de Sartrouville et des Yvelines – CDN
La compagnie est conventionnée par le Ministère de la Culture et de la Communication – D.R.A.C. Auvergne Rhône-Alpes et par la Région Auvergne Rhône-Alpes, soutenue par la Métropole de Lyon au titre de son projet artistique et culturel.

Lieu - Théâtre du Rond Point

Review by: Patrick Kevin O'Hara

Date line: Friday the 5th of June 2026

Compagnie MPTA / Mathurin Bolze - Immaqaa, ici peut-être - Video

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Le Ring de Katharsy

Alice Laloy

Théâtre du Rond-Point

20 — 30 mai 2026

le_ring_de_katharsy Photo simon_gosselin

English

Alice Laloy has created a return to the future in her play "Le Ring de Katharsy" with ominous portents for what is our now and soon to be! Laloy's existential twister extrapolates our now generation’s fascination with video games with alI its attenuating paraphernalia to an ominous future wherein real players interact with real avatars in real video games: played in an exhausting series of sets leading to a triumphal nihilist victory of total mutual destruction.
A wow of a concept realized with a fantastic polyvalent creative team who carry the public beyond simple passive complacent voyeurism into a super post Disney wonder world of shared angst and the vicarious perversive pleasures of a total participative theatre.
Special kudos to costume and set designers whose collaborations with Laloy are a perfect example of creative empathy leading to a believable theatrical realism.
A zoom, smash, blast, crash play fest for all to see and savor! Recommended for all cyborgs aged two to two hundred years of age.

Français

Alice Laloy a créé un retour vers le futur dans sa pièce « Le Ring de Katharsy » avec des présages inquiétants pour ce qui est notre présent et ce qui va bientôt être ! La tornade existentielle de Laloy extrapole la fascination de notre génération actuelle pour les jeux vidéo, avec tout son accessoire atténuant, à un futur menaçant où de vrais joueurs interagiront avec de vrais avatars dans de vrais jeux vidéo : joués dans une série épuisante de sets menant à une victoire nihiliste triomphale de destruction mutuelle totale.
Un concept exceptionnel réalisé avec une équipe créative polyvalente fantastique qui transporte Je public au-delà d'un simple voyeurisme passif et complaisant vers un monde super post-Disney merveilleux, fait d'angoisse partagée et des plaisirs perverses et indirects d'un théâtre totalement participatif.
Un bravo particulier aux costumiers et décorateurs dont les collaborations avec Laloy sont un parfait exemple d’empathie créative menant à des réalismes théâtraux crédibles.
Un festival de jeux zoom, smash, blast, crash pour tous ! Recommandé pour tous les cyborgs âgés de deux à deux cents ans.

CAST LIST

Conceived and directed by Alice Laloy
Writing Alice Laloy in complicity with the entire artistic team
With Coralie Arnoult, Lucille Chalopin, Alberto Diaz, Camille Guillaume, Dominique Joannon, Antoine Maitrias, Léonard Martin, Nilda Martinez alternating with Baptiste Ménard, Antoine Mermet, Marion Tassou, Maxime Steffan alternating with Théo Pétrignet
Assistantship and artistic collaboration Stéphanie Farison Choreographic collaboration Stéphanie Chêne Scenography Jane Joyet
Lighting design César Godefroy Musical composition Csaba Palotaï
Graphic and video design Maud Guerche
Research and development of Antonin Bouvret accessories and objects
Research, design and development of release systems Antonin Bouvret and Christian Hugel Waterfall look Anis Messabis
Costume design Alice Laloy, Maya-Lune Thieblemont, Anne Yarmola Creative sound engineer Géraldine Foucault
Construction reinforcement Julien Aillet, Boris George, Julien Joubert Costume reinforcement Angélique Legrand
Typography MisterPixel, Christophe Badani
Video creation assistantship Félix Farjas and Malo Lacroix Assistant director Salomé Baumgartner
Costume item Esther Le Bellec
Stage manager Sylvain Liagre alternating with Baptiste Douaud Stage manager Léonard Martin
Lighting manager on tour Elisa Millot alternating with Antoine Hansberger
Sound manager on tour Arthur Legouhy alternating with Julien Feryn Setting design Les Ateliers du Théâtre national de Strasbourg (TNS)
Coordination of artistic projects Joanna Cochet Production and distribution Gabrielle Dupas
Administration Thomas Clédé
Communication Manon Rouquet
Production The Company's Name Is Reviens

Production Mentions

Co-production T2G - CDN de Gennevilliers, Théâtre de l'Union - CDN du Limousin, Théâtre National Populaire -CDN de Villeurbanne, Festival d'Automne à Paris, Théâtre national de Strasbourg, Comédie de Clermont-Ferrand - Scène nationale, ThéâtredelaCité-CDN Toulouse Occitanie, Marionnettissimo, Théâtre d'Orléans - Scène nationale, Le Bateau Feu- Scène nationale Dunkerque, Théâtre Nouvelle Génération - CDN de Lyon, La rose des vents- Scène nationale Lille Métropole Villeneuve d'Ascq, Théâtre Olympia-CON Tours, Malakoff scène national -Théâtre 71 Produced with the help of the Ministry of Culture. Support from the SACD Fund / Ministry of Culture Grandes Formes Théâtre, SPEDIDAM. The company has an agreement with the DRAC and the Hauts-de-France Region, the Nord Department, and the Dunkirk Urban Community.

Le Ring de Katharsy de Alice Laloy - Théâtre du Rond-Point - Video

Lieu - Théâtre du Rond Point

Review by: Patrick Kevin O'Hara

Date line: Saturday the 23rd of May 2026

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Edith Beale au Reno Sweeney

Pierre Maillet

Théâtre du Rond-Point

Acheter

19 — 31 mai 2026

edithbealeaurenosweenay_c_jeanlouisfernandez

English

Pierre Maillet has created a surrealistic tour de force with his play “Edith Beale au Reno Sweeney”! The play is situated in an imaginary back room, the “Paradise Room” in the gay club Reno Sweeny. Populated by: two mundane New York ladies, Edith Beale mother (Pierre Maillet), Edith Beale daughter (Frédérique Loliée), and the electric cowboys; Luca Fiorello (Gold, Eugène, Jackie Kennedy), Thomas Jubert (brother Bouvier, brother Phelan, John), Thomas Nicolle (husband and father Père Steve) and Guillaume Bosson.
This cast of eclectic heroes, heroines and others transform the Paradise Room into a confessional with the audience serving as the sacrum poenitentiae. The cast creates a Hell’s a Popping atmosphere saturated with the triste tales of the two Beales seeking importunate meaning in the banality of their existence of no importance beyond: celebrity visits to their eighteen-room mansion in which they exist in utter poverty, neither able nor willing to extricate themselves from their vacuous existence.
Maillet saves the audience from swallowing the devastating boredom of confessional banalities with an effervescent dramaturgy, spiced with virtuoso performances by the inspired interpretations of the outstanding cast performing polyvalent arts, acting, singing, dancing, and playing diverse instruments. A wonderful play to be enjoyed by all regardless of their existential proclivities!

Nota bene:

Reno Sweeney was an intimate cabaret located at 126 West Thirteenth Street in Greenwich Village. It was the first gay club aimed at heterosexuals. In short, the staff was gay and the audience was mixed. Reno Sweeney was immortalized by Ethel Merman in the first ever movie of Anything Goes. Reno is based on two real life women from the 1920s and 1930s: evangelist Aimee Semple McPherson and famous “speak-easy hostess” Texas Guiene

Français

Pierre Maillet a créé un tour de force surréaliste avec sa pièce « Edith Beale au Reno Sweeney » ! La pièce se déroule dans une arrière-salle imaginaire, la « Paradise Room » du club gay Reno Sweeny. D’Edith de : deux jeunes femmes new-yorkaises ordinaires, la mère d'Edith Beale (Pierre Maillet), la fille d'Edith Beale (Frédérique Loliée), et les cow-boys électriques ; Luca Fiorello (Gold, Eugène, Jackie Kennedy), Thomas Jubert (frère Bouvier, frère Phelan, John), Thomas Nicolle (mari et père Père Steve) et Guillaume Bosson.
Cette distribution de héros, d'héroïnes et d'autres éclectiques transforme la Salle du Paradis en confessionnal, le public servant de sacrum poenitentiae. Le casting crée une atmosphère à la Hell's a Popping, saturée des récits tristes des deux Beales cherchant un sens importuné dans la banalité de leur existence, sans importance au-delà : des visites de célébrités dans leur manoir de dix-huit pièces où ils vivent dans une pauvreté totale, ni capables ni désireux de se libérer de leur existence creuse.
Maillet sauve le public de l'ennui dévastateur des banalités confessionnelles grâce à une dramaturgie pétillante, agrémentée de performances virtuoses des interprétations inspirées d'une distribution exceptionnelle jouant des arts polyvalents, jouant le théâtre, chantant, dansant et jouant divers instruments. Une pièce merveilleuse à apprécier de tous, quelles que soient leurs penchants existentiels !

Nota bene :

Reno Sweeney était un cabaret intime situé au 126 West Thirteenth Street à Greenwich Village. C'était le premier club gay destiné aux hétérosexuels. En résumé, le personnel était homosexuel et le public était mixte. Reno Sweeney a été immortalisé par Ethel Merman dans le tout premier film de Anything Goes. Reno est inspirée de deux femmes réelles des années 1920 et 1930 : l'évangéliste Aimee Semple McPherson et la célèbre « hôtesse speak-easy » Texas Guiene

Cast List

A musical performance staged by Pierre Maillet
According to the piece The Art of Falling by Sara Stridsberg
Translation Marianne Ségol
Adaptation and staging Pierre Maillet & Unreasonable People
In this cabaret adaptation by Pierre Maillet, Sara Stridsberg's play is presented in a shortened version punctuated with musical and improvised passages.
With Frédérique Loliée, Pierre Maillet, Luca Fiorello, Thomas Jubert, Thomas Nicolle, Guillaume Bosson
Scenography and lights Nicholas Marie
General Manager Thomas Nicolle
Sound creation Guillaume Bosson
Music Guillaume Bosson and Luca Fiorello
Costumes Zouzou Leyens
Costume collaboration Isabelle Airaud and Mathys Parmentier (intern)
Wigs and makeup Cécile Kretschmar
Dramaturgical support and project development Aurélia Marin
Administration Odile Massart

Production notices

Production Among the Fireflies (Les Gens Déraisonnables) Rennes - Company approved by the Ministry of Culture - DRAC Bretagne
Co-production Le Canal – Théâtre du Pays de Redon, Comédie de Caen – CDN de Normandie, Comédie de Colmar – CDN Grand Est Alsace, Le Quai – CDN d’Angers.
Support for the creation of SPEDIDAM, the Brittany Region and mobility assistance for Spectacle Vivant en Bretagne
The text The Art of Falling was translated with the support of Maison Antoine Vitez, an international center for theater translation.
The full text of Sara Stridsberg's play (translation by Marianne Ségol) is available at L'ARCHE – publisher & theater agency.
www.arche-editor.com.

Pierre Maillet vous parle de Edith Beale au Reno Sweeney ! - Théâtre du Rond-Point - Video

Lieu - Théâtre du Rond Point

Review by: Patrick Kevin O'Hara

Date line: Tuesday the 19th of May 2026

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VILLA DOLOROSA

de Rebekka Kricheldorf

Théâtre de L'Epée de Bois

Du 21 au 24 mai 2026

English

Villa Dolorosa by Rebekka Kricheldorf, translated by Leyla-Claire Rabin and Frank Weigand, is a thinly disguised version of Chekhov’s Three Sisters. Directed by Mario Aguirre the play, as presented at the Théâtre de l’Epée de Bois, is a down-sized production from the original 12 characters, and 4 acts, 2 hours 20 minutes running time to a 6 character, 1 act, 1 hour 30 minute, snappy, cool play extolling the miseries of lives lost in the inertias of regrets in an oxymora of a realistic surrealism played to perfection by Anna Bajger (Olga), Carola Urioste (Irina), Isaline Paris (Janine), Rebeca Maher (Macha), Romain Mondon (Georg), and Juan Cristobal Fernandez (Andreï).
The super alcoholized presentation of Irina’s birthday celebration is the kick-off for this fast-track spoof, of the despairs engendered by non-realized dreams, expressed by the players in a series of gags played more for comedy than profundity in a rather shallow rendition of the original deep character and social reflections expressed in the Moscow Art Theatre production presented in 1901 directed by Stanislavski .
The largely static pleonasms of the staging were relieved by the spunky frivolities of Isaline Paris in her character of Janine that was not present in the original. Apart from the antics of Janine, the doctoring of an esteemed classic would be better developed in a more original creation deserving of a more thoughtful and enjoyable play for today’s audience.

Français

Villa Dolorosa de Rebekka Kricheldorf, traduite par Leyla-Claire Rabin et Frank Weigand, est une version à peine déguisée des Trois Sœurs de Tchekhov. Mise en scène par Mario Aguirre, la pièce, présentée au Théâtre de l'Épée de Bois, est une production réduite par rapport aux 12 personnages originaux, 4 actes, 2 heures 20 minutes de durée, jusqu'à une pièce vive et cool de 6 personnages, 1 acte, 1 heure 30 minutes, louant les misères des vies perdues dans les inerties des regrets, dans un oxymore d'un surréalisme réaliste joué à la perfection par Anna Bajger (Olga), Carola Urioste (Irina), Isaline Paris (Janine), Rebeca Maher (Macha), Romain Mondon (Georg) et Juan Cristobal Fernandez (Andreï).
La présentation ultra-alcoolisée de la fête d'anniversaire d'Irina marque le lancement de cette parodie accélérée, des désespoirs engendrés par des rêves non réalisés, exprimés par les acteurs dans une série de gags plus humoristiques que profonds, dans une version assez superficielle du personnage original profond et des réflexions sociales exprimées dans la production du Théâtre d'Art de Moscou présentée en 1901 par Stanislavski.
Les pléonasmes largement statiques de la mise en scène ont été atténués par les frivolités vives d'Isaline Paris dans son personnage de Janine, absentes de l'original. En dehors des pitreries de Janine, la manipulation d'un classique estimé serait mieux développée dans une création plus originale, méritant une pièce plus réfléchie et agréable pour le public d'aujourd'hui.

CAST LIST
De Rebekka Kricheldorf
Traduction Leyla-Claire Rabih et Frank Weigand, aux Éditions Actes Sud
Mise en scène Mario Aguirre
Avec Anna Bajger, Carola Urioste, Isaline Paris, Rebeca Maher, Romain Mondon, Juan Cristobal Fernandez
Production Compagnie Spirale

Lieu - Théâtre de l’Epée de Bois

Review by: Patrick Kevin O'Hara

Date line: Thursday the 21st of May 2026

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CARPE NOCTEM

d’après la vie de Leonora Carrington et des artistes surréalistes

Théâtre Montmartre Galabru - Paris

Du 08/02/26 au 26/04/26, les dimanches à 16h00

Des personnages de l’univers artistique surréaliste plongés dans la réalité de la Seconde Guerre mondiale. De la folie d’une époque à la folie de Léonora Carrington.
Autrice et metteur en scène de la pièce, Alicia Le Ridant présente un spectacle à la fois profond, fluide et rythmé.
Les artistes, tous acteurs, danseurs et chanteurs sont remarquables par leur polymorphisme, vitalité et détermination artistique.
Je ne peux que recommander.

Auteur : Alicia Le Ridant

Mise en scène : Alicia Le Ridant

Interprètes : Valentine CERIA, Gwenaëlle BERNAL, Anna LE RIDANT, Joévan SEHANS, Arthur BOURGOIN, Eliott GUENODEN, Alicia LE RIDANT

Lieu - Théâtre Montmartre Galabru - Paris

Review by: Bénédicte O'Hara

Date line: Dimanche 05 avril à 16:00 2026

CARPE NOCTEM - Cie Melpomène - Video

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Ne pas finir comme Roméo et Juliette

Métilde Weyergans / Samuel Hercule

Théâtre du Rond-Point

24 — 29 mars 2026

Salle Jean Tardieu
Durée 1h25

English

Métilde Weyergans and Samuel Hercule, in the roles of Romy and Peter aka Juliette and Romeo, are absolutely sublime in their otherworldly interpretation of two irreal world crossed lovers. Supported by time and space travelling musician composers, Timothée Jolly and Mathieu Ogier, playing their original compositions counterpointing real time musical production by Romy and Peter in their parallel existences, the play rollicks through the poignant story of Romy and Peter to a suitably sad ending. Using multimedia effects in a simulcast of stage and screen: the text and direction of Métilde Weyergans and Samuel Hercule is a theatrical must see to be enjoyed by all!

Française

Métilde Weyergans et Samuel Hercule, dans les rôles de Romy et Peter, alias Juliette et Roméo, sont absolument sublimes dans leur interprétation surnaturelle de deux amants irréels croisés. Soutenue par les musiciens compositeurs voyageurs du temps et de l'espace, Timothée Jolly et Mathieu Ogier, jouant leurs compositions originales contredisant la production musicale en temps réel de Romy et Peter dans leurs existences parallèles, la pièce traverse l'histoire poignante de Romy et Peter jusqu'à une fin suffisamment triste. Utilisation d'effets multimédias en simultané entre scène et écran : le texte et la mise en scène de Métilde Weyergans et Samuel Hercule sont un incontournable théâtral à apprécier de tous !

Cast List
Distribution
Texte, réalisation et mise en scène Métilde Weyergans, Samuel Hercule
Musique originale Timothée Jolly et Mathieu Ogier
Avec sur scène Métilde Weyergans, Samuel Hercule, Timothée Jolly, Mathieu Ogier
Et à l’écran Samuel Hercule, Valentine Cadic, Marin Moreau, Benoit Moreira Da Silva, Katell Jan, Aurélia Petit, Pasquale d’Inca, Chloé Chomis, Louis Pagès…
Création sonore Adrian' Bourget assisté de Nicolas de Gélis
Création lumière Sébastien Dumas
Assistanat à la mise en scène Pauline Hercule et Sarah Delaby-Rochette
Assistanat à la réalisation Kévin Soirat et Louise Pagès
Scripte Louise Albon
Image Vadim Alsayed
Décors Victor Melchy
Costumes Rémy Le Dudal
Conception masques Adèle Ogier
Montage Julien Soudet
Effets spéciaux Chadi Abo et Naser Abo / Hecat Studio
Direction de production tournage Lucas Tothe
Création sonore Adrian Bourget assisté de Nicolas de Gélis
Création lumière Sébastien Dumas
Construction machinerie Frédéric Soria, Dominique Mercier-Balaz, Michaël Dimier
Assistantes à la mise en scène Pauline Hercule et Sarah Delaby-Rochette
Régie générale Pierrick Corbaz
Régie son Adrian Bourget et Éric Rousson
Régie lumière Sébastien Dumas
Régie plateau Pierrick Corbaz
Production, administration Anaïs Germain et Carole Chavrier

Lieu - Théâtre Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Tuesday the 24th of March 2026

GRACES

Silvia Gribaudi

Théâtre du Rond-Point

25 févr. — 1 mars 2026

Acheter

Salle Jean Tardieu
Durée 1h

English

The Italian choreographer, Silvia Gribaudi dancing with her three complicit cohorts: Andrea Rampazzo, Francesco Saverio Cavaliere, and Siro Guglielmi treat an enchanted public to a hilarious choreographic romp spoofing conventional norms of beauty and grace.
Inspired by the Three Graces, a sculpture by Canova depicting the daughters of Zeus in perfect shapes: her three very perfect male macho sports males prance their way through a virtuoso movescape offering fresh views of male beauty right down to the naked truth. Gribaudi, not to be outdone, presents a corpus delecti bordering on a composite morphology challenging the imagination of an Auguste Renoir or a Fernando Botero.
A wonderful laugh filled performance to be enjoyed on all occasions!
A must see!

Française

La chorégraphe italienne, Silvia Gribaudi, dansant avec ses trois complices : Andrea Rampazzo, Francesco Saverio Cavaliere et Siro Guglielmi, offre à un public enchanté une comédie chorégraphique hilarante parodiant les normes conventionnelles de beauté et de grâce.
Inspirée par les Trois Grâces, une sculpture de Canova représentant les filles de Zeus dans des formes parfaites : ses trois hommes machos très parfaits se fraient un chemin à travers un mouvement virtuose offrant de nouvelles vues sur la beauté masculine jusqu’à la vérité nue. Gribaudi, ne voulant pas être en reste, présente un corpus delecti frôlant une morphologie composite qui met en défi l’imagination d’un Auguste Renoir ou d’un Fernando Botero.
Une performance merveilleuse pleine de rires à savourer en toutes occasions !

Lieu - Théâtre Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Wednesday the 25th of February 2026

Dear Jason, Dear Andrew

Sébastien Barrier

Théâtre du Rond-Point

3 — 13 déc. 2025

Salle Roland Topor
Durée 1h20

Sébastien Barrier is a rare breed of standup comedian: a self-deprecating individual; professing to recount his obsessions as a bipolar fan of a post-electropunk duo, Jason Williamson and Andrew Fearn. known as Sleaford Mods.
What makes his comedy hilarious is the complete incomprehensibility of the oxymoron of a one-way non-exchange with the punk rockers ejaculating a post Sid Vicious diatribe in a Nottingham dialect, which is unintelligible even to native speaking English people.
The comic aspect of Barrier’s confession is compounded by his obstinate proclivity to transpose the punkers cacophony into French, with the result being a fabulous hells a popping voyage into a transcendental world of obsessional absurdity, which is finally resolved by a video séance with a budding puck rocker infant.
A super cool time to be had by all seeking transport into a post trance rock punk universe of totally useless yet pleasurable absurdity!
PKO
Distribution:
By and with Sébastien Barrier
Lighting design Alizée Bordeau
Félix Mirabella music by those who would become his idols, the Englishmen Jason Williamson and Andrew Fearn.

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Cher Jason, cher Andrew

Barrière Sébastien

Sébastien Barrier est une race rare de comédien de stand-up : un individu autodérisoire ; prétendant raconter ses obsessions en tant que fan bipolaire d'un duo post-électropunk, Jason Williamson et Andrew Fearn. connue sous le nom de Sleaford Mods.
Ce qui rend son humour hilarant, c'est l'incompréhensibilité totale de l'oxymore d'un non-échange à sens unique avec les punks rockers éjaculant une diatribe post-Sid Vicious dans un dialecte de Nottingham, qui est incompréhensible même pour les anglophones natifs.
L'aspect comique de la confession de Barrier est renforcé par sa propension obstinée à transposer la cacophonie des punks en français, ce qui donne lieu à un fabuleux voyage en enfer dans un monde transcendantal d'absurdité obsessionnelle, qui est finalement résolu par une séance vidéo avec un bébé rocker en herbe.
Un moment vraiment cool pour tous ceux qui cherchent un transport dans un univers punk post-trance rock d'absurdité totalement inutile et agréable !
PKO
Répartition :
Par et avec Sébastien Barrier
Conception lumière Alizée Bordeau
Félix Mirabella a composé de ceux qui allaient devenir ses idoles, les Anglais Jason Williamson et Andrew Fearn.

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Lieu - Théâtre Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Wednesday the 3rd of Decembre, 2025

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L’École de danse

de Carlo Goldoni
mise en scène Clément Hervieu-Léger
traduction Françoise Decroisette

Du 14 novembre 2025 au 3 janvier 2026

The School of Dance, a play in triplets in five acts by Carlo Goldoni was performed for the first time on 22 October 1759 at the Teatro San Luca in Venice, after only one rehearsal. The reception of the play was so bad that even Goldoni chose to forget it!
This long-forgotten play has been reborn and directed by Clément Hervieu-Léger, translation by Françoise Decroisette, at the Comédie-Française.
The result is a savory portrait of a nineteenth century dancing school, evoking images immortalized by Edgar Degas. The play is populated with characters, who offer marvelous parallels and reflections of the morals, and practices of their times with resemblances to modern realities that are striking and well defined:
Starting from the mercenary intentions of the dancing master, Monsieur Rigadon, to profit from his students, embellished by the charming interpellation of lovers of widely different ages and social stations; the play rollicks and frolics through their activities, non-stop, to the end, thanks to the skillful direction of Hervieu-Léger and the true to life artistic and choreographic collaboration of Muriel Zusperreguy.
Lighting by Bertrand Couderc is subtle and perfect in complementing the periodicity of the setting, grounded with the soundscape of Jean-Luc Ristord, supported by the divine playing of
Philippe Cavagnat the Pianist.
Compliments to the superb cast:
Éric Génovèse Don Fabrizio, impresario
Florence Viala Madame Sciormand, sister of Monsieur Rigadon
Denis Podalydès Monsieur Rigadon, dance master
Clotilde de Bayser Lucrezia, mother of Rosina
Loïc Corbery as Count Anselmo,
lover of Giuseppina Stéphane Varupenne Ridolfo,
broker, lover of Madame Sciormand
Noam Morgensztern, a notary
Claire de La Rüe du Can Felicita, student
Pauline Clément Giuseppina, student
Jean Chevalier Filippino, student
Marie Oppert Rosalba, student
Adrien Simion Tognino, servant of Mr. Rigadon
Léa Lopez Rosina, student
Charlie Fabert Carlino, student
And Diego Andres, Lila Pelissier, Alessandro Sanna, Students
Philippe Cavagnat the Pianist
PKO

LIEU - COMEDIE FRANCAISE

Review by: Patrick Kevin O'Hara

Date line: Monday the 1st of Decembre, 2025

L'École de danse - Video

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Rubén Molina

La Salida

La Scala Paris

DANSE

25 novembre 2025

Rubén Molina opens the Exit, ("La Salida", which means "The Exit" in Spanish), to a Universal language through his artistic creations: using and modulating the ancient language of Flamenco by combining contemporary dance and Spanish classical dance.
Molina, with his dancers: Paloma Lopéz, Caroline Pastor, Araceli Molina, Lori la Armenia, Marc Lopéz and Ana Brenes, creates movescapes and soundscapes, full of polyphonic contributions; voices, instrumental, guitar, saxophone, voice, hand, foot, and various accruements to illustrate and embellish his otherworldly visons.
Constantly adding elements, at times considered ambient, scraping of heels, swishing of capes and fans, to his vocabulary: Molina develops miniature sketches evoking emotions and images to the stories intrinsic to his concept of enlarging on shared human gregariousness.
There is a touch of the mystical in the lighting and staging of his work: his sudden catapulting from a primordial mystic past to the front of the stage; he the epitome of virility embellished by adoring acolytes, he the archetypic male, leading his company on his voyage, traced by a shamanic muse, to another world, harking back to ancient roots buried deeply in the ancestral well springs of the migrating peoples throughout the world, bringing their voices to the forefront of now.
A not to be missed chef d’oeuvre!
PKO

LIEU - La Scala Paris

Review by: Patrick Kevin O'Hara

Date line: Tuesday the 25th of Novembre, 2025

La Salida - Ruben Molina - Video

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Vers les métamorphoses

Théâtre du Rond-Point

Étienne Saglio / Monstre(s)

7 — 16 nov. 2025

Salle Renaud-Barrault
Durée 1h

vers_les_metmorphoses Photo vasil_tasevski

Vers les métamorphoses, created by Étienne Saglio, is a rare gem of magical creativity endowed with a poignant soul, which touches our mutual existence within a world of imagination and humanity. Saglio’s magical creation embraces our trinomial cohesion with nature, the imaginary, and the existential reality of our actions.
The performers Étienne Saglio, Clément Dazin or Antoine Guillaume and the dog Messi are delightful and full of mischief and paradigms , which are resolved in the epilogue appended to the movescape: thanks to the dramaturgy and external views of Valentine Losseau and Raphaël Navarro, aided by the scenography of Benjamin Gabrié.
The musical creation, by Madeleine Cazenave and Thomas Watteau, complements the concept of Saglio, plunging the audience into a vibrant soundscape, providing a subsonic sensorial response in the individual corporal entities.
The lighting designer Alexandre Dujardin has created a beautiful lightscape corollary, executed by Dujardin (himself) or Laurent Beucher, effectively complimenting the singularity of a mysterious surreality.
The supporting cast of creators and technicians:
Sound technician Thomas Watteau or Christophe Chauvière
Machinery design Simon Maurice
Video design Camille Cotineau
Video control Thibaut Servain
General management and construction Yohann Nayet
Yohann Nayet or Alexis Artero, Simon Maurice or Benoit Desnos, Louise Bouchicot or Matéo Leduc, Thomas Dilis or Zoé Bouchicot Computer creation Tom Magnier
IT manager Thibaut Champagne or Nicolas Guichard
Puppets, props, and costumes Louise Digard
Animal coaches Laura Martin and Pascal Tréguy
Tour Logistics Marion Galon or Célia Kwaniewski
AY-ROOP Production Editing, Administration and Broadcasting.
Are all to be congratulated!
Bravos and bravas!
PKO

LIEU - Théâtre du Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Wednesday the 12th of Novembre, 2025

Tutu

Le Théâtre Libre

Du 16 octobre 2025 au 11 janvier 2026

Réservez

TUTU, a perennial charmer, opened on the 16th of October at Le Théâtre Libre to a bemused and amused public, composed of a multi aged and gendered public.
The opening view: of an invisible upper body turning on a dark stage, with barely opened curtains, dressed in à white tutu, perched semi- elegantly on powerful legs, toes scrunched in suffering point shoes, set the mood for the forth coming cornucopia; of twenty slapstick, serious dance, gymnastic and vocal sketches. Conception and choreography by Philippe LAFEUILLE give a fast-paced movescape, full of fast changes and surprising twists in characterizations of who and what partners who.
The Performers: Marc BEHRA, David GUASGUA M, Kamil Pawel JASINSKI, Julien MERCIER, Vincent SIMON, and Vincenzo VENERUSO zoom through their routines giving virtuoso interpretations of their technically challenging persona. All are physically disparate yet harmoniously grouped in their androgynous wonder world of the imagination.
An evening of fun and fantasy for the whole family from toddlers to totters to be enjoyed on all occasions!
A must see!
PKO

TUTU - Chicos Mambo - Quartier Libre - Video

LIEU - Le Théâtre Libre

Review by: Patrick Kevin O'Hara

Date line: Thursday the 16th of Octobre, 2025

Birds on a Wire

Rosemary Standley / Dom La Nena

1 — 5 oct. 2025

Salle Renaud-Barrault
Durée 1h30

Birds on a Wire, created by Rosemary Standley and Dom La Nena, is an enchanting soundscape with magical effects by Simon Maurice.
Singing and playing their way through an eclectic repertoire, they meander down memory lane in their magical world: invoking many of the great singers and musicians of the past and present.
La Nena is a consummate cellist, creating indelible compositions on her violoncello. What sets her apart is: the playback loops that she creates on her violoncello, and which she uses as grounds for their musical and vocal duos.
Standley sets the vocal mood recalling: Tom Waits, Barbara, Bob Dylan, Jacques Brel or even The Cure, soaring through a baroque or Brazilian repertoire with an eloquent facility, warbling with a Down Home, Country, and Western Brazilian nasal vocal sound.
All and all a must see and hear with the able assistance and backing of:
Scenography and artistic complicity Étienne Saglio
Dramaturgy Olivia Burton
Set design Benjamin Gabrié
Simon Maurice Magic Effects
Lighting design Anne Muller and Alexandre Dujardin
Sound design and sound design Anne Laurin
Régie lumière Sarah Eger
Stage manager Arnaud Bréhault
Stage manager Marie Cherprenet Boisteau
PKO

LIEU - Théâtre du Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Wednesday the 1st of Octobre, 2025

Vaslav

Olivier Normand

16 sept. — 4 oct. 2025

Salle Roland Topor
Les dates
Durée 1h

Olivier Normand, aka Vaslav de Folleterre, quipped that he never felt so masculine and virile as when he was adorned in his feminine garb! To see him is to believe him, and in his performance at the Théâtre du Rond Point he is definitely masculine and virile!
Despite his feminine attire he is worthy of a chapter in Ovid’s Metamorphoses, for he is as he feels, entirely masculine and virile.
This oxymoron allows him to transcend mere camp parodies of feminine behaviors to touch on human nature and emotions with his performance. By using his vast vocal range: touching Monteverdi to Damia, from Caetano Veloso to Nirvana, from Bob Marley to Brigitte Fontaine, he titillates and transfixes the audience with a never-ending cascade of emulated stars in his repertoire.
Accompanying himself on a Shruti box, an Indian musical instrument, Vaslav flashes from one emotion to another always keeping a precious balance between camp and profound, cutting through invisible barriers to touch on eternal truths binding us all to common human realities of identities and dreams, evoking a dreamscape of enchanting mysteries.
Bravos and bravas to: Sound Pablo Da Silva, Lighting and artistic collaboration Vincent Brunol, Dramaturgical perspective Anne Lenglet, and Hanna Sjödin Dress!
A must see!
PKO

LIEU - Théâtre du Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Wednesday the 17th of Septembre, 2025

GILDAA

Camille Constantin Da Silva

Théâtre du Rond-Point

14 - 16 mai 2025, 20h

Salle Roland Topor
Durée estimée 1h20

GILDAA is chef d’oeuvre by, a very talented creatrice, Camille Constantin Da Silva.
Presented recently at the Théâtre du Rond-Point in Paris, she unveiled a multiplicity of inner and outer persona with consummate artistry. Complemented by: Mathias Durand (guitar and bass) and Zé Luis Do Nascimento (percussion), she transforms herself, via song, dance, and magical stagecraft, from a frumpish drab to a Brazilian sex bomb.
Da Silva, who has no need of self-deprecation or concealment, reveals, towards the end of an absolutely fascinating performance, the true Gildaa to be an enchanting musician and charming singer, blessed with an impressive range, which she uses: from soft little girl murmuring to bawdy full throated audience shaking vocals; to enthrall and bewitch all who may have the chance to enjoy her performance.
A must see!
PKO
Writing, composition, artistic direction Camille CONSTANTIN DA SILVA
With GILDAA, Mathias Durand (guitar and bass), Zé Luis Do Nascimento (percussion)
Artistic collaboration Edouard Penaud and Yndi Da Silva
Sound Joachim Cairaschi
Lighting Valentin Paul

LIEU - Théâtre du Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Friday the 16th of May 2025

Les Vies authentiques de Phinéas Gage

Marie Piemontese , Florent Trochel

Théâtre du Rond-Point

15 - 25 mai 2025

Salle Jean Tardieu
du mardi au vendredi, 19h30 - samedi, 18h30 - dimanche, 15h30
Relâche : lundi 19 mai
Durée estimée 1h30

The True Lives of Phineas Gage

The Théâtre du Rond-Point presented, on May the 15th, 2025, The True Lives of Phineas Gage, a play based on a true historical event, by Marie Piemontese and Florent Trochel.
Quasi documentary, the play examines, in phycological esoteric terms, the fate of Phineas Gage: a foreman on a North American railroad site, who, on the 13th of September 1848, was seriously injured, while tamping explosive powder in a rock formation to advance the passage of the rails. The resulting explosion sent his tamping iron through the left side of his jaw and scull, effectuating a successful frontal lobotomy.
The cast: Éric Feldman (Him), Shams El Karoui (The One Who Is Like a Sister), Philippe Frécon (The Other), Yohanna Fuchs (The Presence That Emerged from the Accident) and the voice of William Stoppa (The voice of the famous Barnum), try gallantly to breath theatrical life into the play. Unfortunately, the play does not achieve a successful liftoff to the stated objectives: of an intimate epic, a fable about reconstruction and freedom.
The Phineas Gage saga deserves an action-packed drama, with characters real to the true-life events. The psychodrama that is presented drifts off to an ethereal wonderland without ever really dealing with the real effects on world medical history and the dramatic tragedies of the subsequent practices: of lobotomies practiced on a massive scale to which there has never been an adequate apology.
PKO

LIEU - Théâtre du Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Thursday the 15th of May 2025

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Louise

Martin Zimmermann

Théâtre du Rond-Point

Salle Renaud-Barrault

du mardi au vendredi, 20h30 - samedi, 19h30
Relâche : les 18 et 19 mai
Durée 1h15

louise_by_admill_kuyler

Louise, a multi-faceted tribute to the artist Louise Bourgeois by Martin Zimmermann, opened at the Théâtre du Rond-Point to a mixed reception by a public amused and bemused.
The fact that Louise was co-created and interpreted by Zimmermann and his cast of four: Bérengère Bodin, Methinee Wongtrakoon, Marianna De Sanctis, and Rosalba Torres Guerrero, gave the creation its strengths and weaknesses. The cast members were all fantastic! Strong versatile technics bolstered by impressive theatrical, dance, film, and circus credentials: they all played with extravagant poise and professionalism, which gave the entire production its major strengths.
The weaknesses came from the lack of focus as a theatrical play. Zimmermann is too kind with his tribute, allowing his co-authors full freedom is great but it does not lead to coherence as a theatre piece. This Quo Vadis leads to a perplexed audience, some of whom gave up trying to understand and left before the final denouement.
It is a pity as the production values are stupendous: a stage with three revolving surfaces, secret trap doors in the stage floor, great decors and accessories, costumes by Susanne Boner, music by Tobias Preisig, soundscape by Andy Neresheimer, lighting by Ueli Kappeler, the list goes on; and finally, conception, direction, and choreography by Martin Zimmermann, assisted by Romain Guion! Who could ask for anything more?
The answer to the rhetorical question could possibly be to continue to develop a great idea by giving it more centre focus on the scenario thus giving the play soul value, and not just a series of short burlesque sketches.
PKO

LIEU - Théâtre du Rond-Point

Review by: Patrick Kevin O'Hara

Date line: Tuesday the 13th of May 2025

Louise de Martin Zimmermann - Théâtre du Rond-Point - Video **********************************************************************************************************************************************************************************************

S 62° 58’, W 60° 39’

Peeping Tom

DANSE THÉÂTRE

Théâtre des Arts Créteil

Mercredi 03 & Jeudi 04 Avril 2024 - 20h00

PEEPING TOM

S 62° 58’ , W 60° 39’

PEEPING TOM deserves its claim to be a “dance” company! It exemplifies the best in the long tradition of dance in theatre, from dance in theatre’s early foundations in Greece, to dance’s present preeminence in many modern theatrical productions.
Dance is an art form that touches on our deep emotions, effectively evoking common shared experiences and dreams.
In its current production, S 62° 58’ , W 60° 39’, PEEPING TOM achieves epiphany with its audience.
Founded by Gabriela Carrizo and Franck Chartier, the PEEPING TOM company has developed a hyperrealism based on a solid scenography, with identifiable characters. In the company’s current play, the dance actors effectively delineate their persona’s realities in voice and movement. Wonderfully created and played by:
Marie Gyselbrecht, Chey Jurado, Lauren Langlois, Yi-chun Liu, Sam Louwyck, Romeu Runa, and Dirk Boelens, and assisted by Eurudike De Beul.
The play’s concept, and direction by Frank Chartier, is an exquisite cornucopia of slapstick comedy and mock pathos sustained by a marvelous vulgarity of movement and spoken, sung, and screamed vocabulary. The play careens to its final, a near pornographic soliloquy, with a devil may care effervescence that mocks acceptable onstage behavior.
Backed by: Soundscape, Raphaëlle LATINI, Lighting, Tom Visser, Choreography, Yi-Chun Liu, Costumes, Jessica Harkay, and technical creation and accessories, Filip Timmerman, the play is a must see!
PKO

LIEU - Théâtre des Arts Créteil - Mercredi 03 & Jeudi 04 Avril 2024 - 20h00

Review by: Patrick Kevin O'Hara

Date line: Wednesday the 3rd of April, 2024

S 62° 58', W 60° 39' Peeping Tom - Video

LA GRANDE MAGIA

Emmanuel Demarcy-Mota
Eduardo De Filippo

MAC - Maison des Arts et de la Culture

DATES: February 29 - March 01, 2024

La Grande Magie directed by Emmanuel Demarcy-Mota, with the actors of the Théâtre de la Ville from Paris,
presented his interpretation, of the immortal play by Eduardo De Filippo, recently at the Maison des Arts Créteil.
Created in 1948 in post war Italy, Filippo’s play is a lyrical creation, wherein we are but players in a magical illusion that we break at our own peril.
Complex and existential the world of LA GRANDE MAGIE, since its creation, has challenged players and directors the world over in its interpretation. Interweaving different social strata, directors and players are required to create a magical multi-dimensional reality, while making a relevant political comment on the actual world.
Magic is a delicate art that requires constant practice, dedication, and intelligence to achieve its subliminal effect on our view of reality. Filippo knew this and benefited from the support of his family of players in his creation.
Since its debut at the Espace Cardin in 2022, Demarcy-Mota has reworked and refined his vision of the inner meanings of the play in his theatrical presentation. He has had the faithful support of his cast of players in attempting to achieve a meaningful creative synthesis with Filippo’s vision of a postwar world populated with dangerous illusions of different conflicting realities, all possible yet still to be realized.
Demarcy-Mota has improved the magic illusions in the play, the presentation has been endowed with sumptuous machinery, excellent staging, lighting, sound, and dedicated acting yet there is something missing. The missing element is magic legerity. Great illusionists produce their work with the light touch of an ease born of long arduous practice and a certain innate ability.
Demarcy-Mota and his players are tenacious, and it is certain that time and conscientious practice will produce the ultimate illusion and relevance sought in his tribute to Filippo’s genius.
PKO

LIEU -MAC - Maison des Arts et de la Culture
du 29 février au 01 mars 2024

Review by:Patrick Kevin O'Hara

Date line: Thursday, February 29th, 2024

La grande magia / Eduardo de Filippo • Emmanuel Demarcy-Mota - Video *********************************************************************************************************************************************************************************************************************

World Premiére: La Grande Magie - Espace Cardin

DATES: Dec 07, 2022 - Jan 08, 2023

La Grande Magie

LA GRANDE MAGIE, a play by Eduardo de Filippo, directed by Emmanuel Demarcy-Mota, is the work of an author with deeply rooted social convictions. It is not necessary to be a cryptologist to decipher Filippo’s meaning in his play that being of free will, choice, and belief. The Great Magic (English title) was written in 1948 after more than twenty years of fascist rule. Filippo comments that he was finally able to change his manner of writing. Liberated, from the strictures of an extreme right wing political domination and censorship, he was finally able to voice his humanist soul in an allegorical theatrical presentation, wrapped in the cloak of a magical comedy.
Demarcy-Mota’s direction is deft and masterful, enacted by the acting company of the Théâtre de la Ville, composed of actors (for the most part) of long-standing affiliation with his direction and directorial vision.
Given, brilliant writing, excellent staging, and direction: the questions remain, Do we care? Is the subject matter relevant today? Are we convinced by the actors and the director’s realization of Filippo’s free form poetic prose? These are questions that each audience must answer for themselves.
Tuesday’s performance gave the impression of a certain fatigue, on the part of the actors. The magic was less than magical. Magic should be magical, not predictable, less it be judged inept and laughable, which it was not. Missing was the buffoonery, and lightness needed to carry the audience off into another world of imagination.
The jilted wife’s choice of, to open or not to open, the suitcase, wherein her husband has been magically placed, is the center piece of the play’s plot and meaning. Placed in the context of a seaside resort hotel, where the elegant world-weary guests seek amusement, the magician, played by Serge Maggiani, purports to have made the philandering husband, appear, and reappear in the suitcase. He attempts to convince the wife that her husband is really in a tiny suitcase. She must make the choice of whether or not to open the suitcase. According to the magician, if she opens the suitcase and her husband is not there, then he will never reappear! If she doesn’t open the suitcase, then there will be always the possibility that he is really there and will someday make his magical reappearance.
Filippo’s play: extrapolated into today’s real world, the question of free will and choice, maintains its relevancy.
Yet to be seen is further efforts on the part of the actors to make the caring by the audience real.

A must see!

PKO

Review by: Patrick Kevin O'Hara

Date line: Tuesday, December 13th, 2022