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Families, I love you … at the theater

Ⓒ AFP/Archives – ANNE-CHRISTINE POUJOULAT – | The actresses Thi Thanh Thu To (g) and Thi Truc Ly Huynh, July 7, 2017 during a rehearsal of the play “Saïgon”, Avignon

Veneered, melancholic or footous, the family is on the theatrical release, with two versions of Chekhov’s “Three Sisters”, the incestuous “Festen” by Thomas Vinterberg adapted to the stage or “Stadium” family of fans of RC Lens.

At the Théâtre de l’Odéon, Chekhov is played squarely: the Russian Timofei Kouliabine, who has never yet been invited to France, produces a version of the “Three Sisters” in sign language (5-15 October), and a month later Australian Simon Stone, who had given a “Mediea” stunning of modernity, attacked Chekhov’s masterpiece (10 November-22 December).

The toxic “Festen” camera filmed in 1998 by Thomas Vinterberg is adapted to the stage by young director Cyril Teste, a skilled video user and author in 2015 of the terrifying “Nobody” about the glazing of a company of consulting (Odéon 24 November-21 December).

Otherwise festive, the family of football rises on stage at the theater of the Hill from 26 September to 7 October: dramatist Mohamed el Khatib brings together about fifty RC Lens fans, known as “the best public in France”.

In Strasbourg, Clément Hervieu-Léger, actor and subtle director of the Comédie-Française, opens the season with “Le pays lointain”, a twin piece of “Juste la fin du monde” (taken to cinema by Xavier Dolan in 2016). The dramatist Jean-Luc Lagarce evokes a recurring theme of his work: the son returned to his family to announce his next death (September 26 to October 13).

At the Théâtre Hébertot, “The Venetian twins” by Goldoni, the great master of the Italian comedy of the 18th century, are staged by Jean-Louis Benoit with Maxime d’Aboville: two twins raised one in the mountains the other, at Venice, met by chance and without recognizing themselves at Verona. The play unfolds surprises and misunderstandings on three sparkling acts.

Equally stunning, “Les Fourberies de Scapin” by Molière are reborn at the Comédie-Française under the aegis of Denis Podalydès, director ten years ago of a legendary “Cyrano” repeated in loop to the Frenchman.

– Favorites of Avignon –

The private theater has always made its honey of family and couple stories, and this season, Richard Berry and Mathilde Seigner are for the first time gathered on the boards for Eric Assous’s “The New” story of a a widower who presents her young and pretty fiancée to her two grandsons (Théâtre de Paris, from 15 September).

Do not hesitate to reserve your tickets for “Saigon”, a favorite of the last Festival d’Avignon, taken from January 12th to February 10th at the Ateliers Berthier in the Théâtre de l’Odéon. In the true-to-life setting of a Vietnamese restaurant, returnees from French Indochina and their children question history. Pho’s pots smoke and tears flow …

Other nuggets of Avignon, the two pieces punching on Europe (“Memories of Sarajevo” and “In the Ruins of Athens”) of Julie Bertin and Jade Herbulot are taken again at the Theater of Quartiers of Ivry from 9 to 19 November.

The theater co-founded by Adel Hakim, who died a few days ago, will resume in March his play “Des Roses et du Jasmin”, performed by the Palestinian National Theater. A beautiful tribute to this lover of all theaters, founder of the Theater des Quartiers du Monde.

The abundant Festival d’Automne in Paris, which has invited artists from the international art scene for 35 years, offers a dense program of dance (Jérôme Bel), music (Arditti Quartet) and theater, including “La Pitié dangereuse” by Stefan Zweig directed by Englishman Simon McBurney in Sceaux (14 to 24 September), the lesson of democracy by the visionary Romeo Castellucci (“Democracy in America”) and French director Vincent Macaigne (three plays from 25 November to 22 December) .

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