The Way She Dies

Tiago Rodrigues confronts Anna Karenina, the enigmatic character of Tolstoy, and ask this question: what can the literature? This is a fugue for four actors, two men, two women, fugue for two worlds: that of the Flemish company tg Stan, Jolente De Keersmaeker and Frank Vercruyssen, that of the Portuguese Isabel Abreu and Pedro Gil. We dive in full marital crisis. Let us not say more. You will recognize as well the Russian novel as echoes of other works to be crossed, from Flaubert to Bergman or Cassavetes. Four virtuoso, precise in a game that wants you to believe in something floating, but that is a rigorous musical and that returns us to the only truth worth: the true life is in the books and the death of Anna Karenina is recorded for ever in the flesh of the readers. Mesmerizing alchemy.

” The Way She Dies at the Théâtre de la Bastille, in the framework of the Festival of autumn, until the 6th of oct. Tel.:

Philippe Torreton is Galilee. Simon Gosselin

Life of Galileo

After the staging of Éric Ruf at the French end of last season, it’s the reading of Claudia Stavisky of the play of Brecht at la Scala. The director of the Célestins serves situations while installing it in the timeless. And chess pieces, large window on the milky way, the black prison, and the games of white light as a scientific proof. Art of placement, intelligent representation of the articles of association of a symbolic nature, with the accuracy of the atmosphere of the stage. Galilee is well served. The interpretation of Philippe Torreton in the title role there is for many: without taking it out of its obsession with scientific born, its voltage monomaniac, his character is evidence of tactical flexibility, copes with his fears, while developing a sense of morality that rises in the direction of the story.

” The Life of Galileo, La Scala (Paris Xe), Tuesday to Sunday. Tel.:



there is no more beautiful place to ride Shipwrecked that the Bouffes du Nord, the palais lepers and vertical facing the metro station La Chapelle. Emmanuel Meirieu is adapting the best-selling Patrick Declerck, who tells of her fifteen years spent with the tramps of Paris. The set design, awe-inspiring, takes up the metaphor of the title. In the back of the stage, the sea sloshes back and forth and dies. The public has the feet in the sand. A huge ship rusty is in the process of sinking. On this beach, post-apocalyptic, a wretch in rags (François Cottrelle) tells. “Scabs”, “purulent”, “piss”, “bitch”, “cané”, “gangrene”. No second degree or grades. This is the poetry of the sidewalks. We were warned: Emmanuel Meirieu is a master of emotion tragic. Here again, it goes right to the heart.

” The Shipwrecked, Tuesday to Saturday at 19h until October 2, the Bouffes du Nord, Paris (XVIIIe). Tel.: BOOK >

The classical Course

Philippe Duclos and Grégoire Œstermann. Giovanni Cittadini Cesi

On the stage of the Roundabout, Sandrine Lanno staged The classical Course , adapted from the novel by Yves Ravey. Twenty-five years after its publication, the text, served by two actors of great talent (Philippe Duclos and Grégoire Œstermann), remains resolutely of its time.

” The Classical Course. Until the 29th of September at the Théâtre du Rond-Point, 2 bis avenue Franklin-Roosevelt (Eighth). Tel.: Opening hours: 21 h.-Seat: 31 €. Duration: 1 hour 40 minutes.

● Macbeth (The Notes)

Alone on stage, David Ayala interpreter, a film director overwhelmed in a few days the first of the Shakespeare play. A mise en abyme, which metamorphoses into a performance. When Shakespeare leads us into the throes of hell of the human condition, Ayala reveals to us those of the stage. By this curveball, he manages to make us laugh at a piece of black that are. But where the actor shines and glows, it is when he interprets him-even the tirades famous, like the conductor of an orchestra mimerait of the wand to his musicians. Then suddenly, here we are. In the antechambers windy of Inverness castle,… to the scene of the murder where our man is bathed in twenty-two gallons of red dye. It was believed David Ayala simply crazy. It is also a remarkable actor.

” Macbeth (The Notes), at the Théâtre du Lucernaire, Paris (VIe), until 13 October. Duration: 1: 25 pm, 28 €. Tel.: 01 45 44 57 34


La Dame de chez Maxim

La Dame de chez Maxim , directed by Zabou Breitman, is primesautier, leaping, singing, with what it takes to cheerfully mangled: perfectly interpreted. It recalls the argument: in the morning following a debauch, in which he was led by his young colleague, Dr. Petypon wakes up realizing that this is not his legitimate wife, Gabrielle Petypon, who occupies the other side of the marital bed. This is the “vie en rose Shrimp”, a dancer at the Moulin Rouge, of morals, salacious, cheeky, and as proud as Artaban, which usurps the place of the very middle-class and devout Gabrielle. Following a misunderstanding, she must pretend to be the wife of the good doctor… The success of this interpretation is simple to state: it just flows as if by magic, and the music is never far away. It all hinges: the situations, the characters, the pace, very well served by Michal Lescot and Léa Drucker.

” The Lady from Maxim, at the Théâtre de la Porte Saint-Martin, from Tuesday to Friday at 20 hours, on Saturdays at 20: 30, Sunday at 16 hours. Tel.: 01 42 08 00 32.


The Mousetrap

It is of first necessity to love the tartan, porcelain, whiskey thirty years of age, and sweaters that scratch to enjoy The Mousetrap , in the Theatre of the Nursery. This piece, one of only two ever written by Agatha Christie, was inspired by a fait divers: the death of a young boy, Dennis O’neill, who died while he was staying in a host family of farmers from the Shropshire in 1945. In a mise en scène de Ladislas Chollat, this camera very clos has no other intention than to entertain. It has been known to intrigue more breathless, but rarely of the victims better trussed.

” The Mousetrap, Theatre of the Nursery, Paris (IIe). Tel.:


Suite française

“Lost in translation” under the Occupation. Fabienne RAPPENEAU

in 1942, the centre of France. In the Face of the occupants germans, the resistance organizes itself softly. In the Angellier, the atmosphere is cut with a knife. Mrs. (wonderful Beatrice Agenin) do not support the presence in it of an officer of the Wehrmacht. She hates her daughter-in-law, Lucile, whose husband volage, was made a prisoner, at least as much as the nazis. The latter falls in love, little by little, the enemy. For these clandestine lovers, everything can be said in mid-word. The essential is guess. It is Lost in translation under the Occupation. The novel Suite Française lends itself well to the theatre, is said to be coming out. Welcome more the work of Virginie Lemoine, who does everything to fit in a salon bourgeois. Without being insipid, or dead time, or frills. Without a lot of daring, not more. There’s a lot of respect for the author, Irène Némirovsky, and her extraordinary story, she was deported and died in 1942 in Auschwitz shortly after the writing of the manuscript.

” Suite française, from Tuesday to Friday at 21h, Saturday at 16: 45 and 21, at the Théâtre La Bruyère. 5, rue La Bruyère (IXe). Tel.:



They love each other like puppets. In a living room Ikea. Perfectly. Like in a magazine on glossy paper. A man and a woman. All is well in the best of all worlds. This is Ken (Emmanuel Noblet) and Barbie (Élodie Navarre) in the country of Candy. But Ken and Barbie did not have a child. Fine , if. A little girl of 7 years. Not like the other. Who sleeps poorly. Eats little. No longer speaks. A “problem” in the eyes of his parents. A pretext found to compete. Violently. The house of happiness will collapse. The stage director Côme de Bellescize is at the head of the field of battle. No one escaped unscathed from the theatre. Behind the scenes and in the room. The spectator, fascinated, frightened, carried away by this whirlwind of hate that seems to never end. The actors, who wet their shirt. Playing as if their lives depended on it. Scraping relentlessly wounds still bloody. The duo is found. Both portray characters imperfect, alas, sometimes familiar, to perfection.

” The best in the mar. at the sam. 21 h. Théâtre du Petit Saint Martin, Paris (Xe). Tel.:


The Gorilla

Brontis Jodorowsky concocts a superb incarnation. Adrien Lecouturier

He jumps. On the show, he jumps like a monkey. He looks very fierce. Yet his gaze is soft and clear. He wears a suit, black jacket, white shirt, broad tie. Only the gaiters indicates a time that is not ours. Brontis Jodorowsky takes, years after you created this show, The Gorilla , adapted by his father, Alejandro Jodorowsky, the new Franz Kafka Report to an academy. Under the makeup he realizes himself, he is impressive. Behind his desk speaker, the character rem tells the story of his life (a wild animal became a star of music hall), the fate he has not chosen. He tells the wall that he was able to go through to acquire language, and his intelligence is profound. But its curious fate has led him to experience the cruelty of the human being. Brontis Jodorowsky concocts a superb incarnation. It is held, taut, perfect. It is fun sometimes, because this hero unhappy is of the spirit. We are amused. But, beyond the anecdote, the fable of Kafka speaks to us also of our present, in its very complexity.

” The Gorilla. At the Théâtre du Lucernaire, 21 h, mar. the sam., dim. 18 h. Time: 1: 10. Tel.: