La Mano 1.9, a rapper from Paris’s 19th district, is performing at the Alhambra. Recently awarded “Male Revelation of the Year” at the Flammes 2025 and currently hitting number one with “Parisienne,” he continues to rise in the French rap scene. Following a record-breaking sold-out show at La Cigale, his sights are set on conquering the Zénith de Paris and embarking on a nationwide tour.
Written by Penda Diouf and staged by Evelyne Castellino, LA GRANDE OURSE is an ecofeminist fable that traces a mother’s descent after a minor incident becomes criminalized. Combining video, choreographed movement and choral voices, the piece weaves police violence, racism and sexism into a hallucinatory, dystopian world where omnipresent surveillance watches every gesture. As the heroine reconnects with ancestral nature by transforming into a bear, the production evokes animal survival instinct, collective gossip and the fragile line between humanity and wildness, offering a visceral, poetic reflection on power and resistance.
In French.
Directed by Marie Wyler and adapted from Violaine Bérot’s novel, Comme des bêtes follows a man nicknamed “the Bear” whose difference unsettles a mountain village after a child is sighted near his cave. Performed by Marie Probst, Marie Ruchat, Alexandra Tiedemann and David Casada, the piece mixes elements of folk tale and detective narrative to probe mutual taming between humans and other forms of life. Giulia Muniz’s costumes, David Kretonic’s lighting and Rudy Deceliere’s sound design build a tense, mysterious atmosphere that questions the limits of rationality.
In French.
Performed by Édouard Louis and directed by Thomas Ostermeier, this terse, unflinching monologue examines the premature exhaustion of a father’s body and traces the social forces that shaped it. A sequence of fragments alternates indignation, vengeance and abiding tenderness. Nina Wetzel’s scenography, Caroline Tavernier’s costumes and Erich Schneider’s lighting frame a stark, intimate staging, while Sylvain Jacques’ music and the dramaturgy of Florian Borchmeyer and Élisa Leroy shape its rhythm.
In French.
Performed by Camélia Acef and Youri Rebeko, La tête ailleurs is a light, comic musical about Norah, who can’t help hearing songs in her head whenever she tries to concentrate. The piece slides between Broadway-classic, funk, pop and tango, treating the intrusive melodies as a playful yet unsettling manifestation of the unconscious. The staging balances energetic numbers and intimate moments, probing memory and identity. The show was nominated at the 2025 Trophées de la Comédie Musicale (Best Book; Revelation Masculine for Youri Rebeko).
In French.
Molière’s Tartuffe tells the story of a slick con-man who hides behind ostentatious piety to worm his way into the wealthy Orgon household. Orgon, dazzled by Tartuffe’s sanctimonious rhetoric, defends him even as the impostor’s hypocrisy poisons family bonds and pushes the household toward ruin.
Director Jean Liermier underscores how, in Molière’s work, the female characters serve as the moral compass and spark of resistance, a beacon of hope against oppression. Staged on a stark, minimalist set that exposes the family’s rigid tensions—and featuring Gilles Privat as an unbending Orgon—this production highlights the play’s continuing resonance in a world beset by egotism, fanaticism, and conspiracy thinking. The central question remains timeless: will society keep falling for Tartuffe’s brand of seductive deceit?
In French. Ages 12 and up.
Performed by Françoise Boillat, this intimate staging of Sophocles’ Antigone reimagines the tragedy through sparse, elemental theatricality. The actress confronts authority and allegiance beneath seven remarkable trees, whose silent presence frames tensions between law, nature and personal freedom. The production emphasises stark gestures, close physicality and a raw vocal intensity, letting heritage and dissent resonate through wind and shadow. Audiences are invited into a meditative, tactile encounter with the myth.
In French.
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