Directed by Raven Ruëll and created by Belgian collective La Brute, Andromaque presents Racine’s complete text in a stripped-back staging that highlights the violence and beauty of the tragedy. Eight performers, including Raven Ruëll, Johan Heldenbergh and Colette Coutant, deliver a bare, rhythmic reading where desire, death and madness entwine and lead to mutual destruction. The austere approach and concentrated ensemble work amplify the emotional intensity of the classical language.

In French.

Born from the collaboration of Rodriguez Vangama, Fabrizio Cassol and Alain Platel, Coup Fatal blends opera, concert and dance into a jubilant hybrid performance. Thirteen musicians—mostly from the Democratic Republic of Congo—weave together baroque airs, rumba, lyrical voices and traditional songs, drawing on influences from Nina Simone to Vivaldi. The staging celebrates cultural and vocal encounters through visceral music-making and collective energy.

In French.

Good Sex, created by the Irish company Dead Centre, unfolds a fragile story of love, solitude and desire. Each evening two performers who have previously loved are reunited on stage, yet the actors do not know each other nor the words they must inhabit; the dialogue is whispered to them in real time through an earpiece, guided by an intimacy coordinator. The piece examines how intimacy and sexuality are constructed, and reflects on theatrical and cinematic illusion.

In French.

Performed and directed by Andrea Jiménez, Casting Lear blends autofiction with Shakespeare’s text. Jiménez embodies Cordelia while inviting a different actor each evening to play Lear — a father imagined anew. The piece, staged as an audition or rehearsal, probes filial bonds, legacy and authorship, where memory and invention collide. Intimate and volatile, it investigates how antecedents haunt us and how one might invent a life that truly belongs to them.

In French.

Dreams Come True’s Dear Luigi, I Hate You stages a hybrid of fiction and documentary around a contemporary criminal case. Two actors embody fictional avatars of the victim’s widow and the accused and engage in a restorative-justice process observed step by step by Adèle Yon. The piece examines responsibility, trauma and the possibility of dialogue across deep social fractures, combining intimate performances and documentary fragments to probe ethics, memory and collective reckoning.

In French.