Richard III

After creating Richard II in 2015, it's with the same mindset that we're now creating Richard III. Like Elizabethan theater in its day, we champion a theater that is popular and demanding, spectacular and intimate, but which puts the actresses and actors at the center. In keeping with Shakespeare's original situations, each more astonishing than the last, we seek to juggle the most radical emotions to create a total spectacle, in which the very strong aesthetic research is only there to serve the story being told. And what a story it is! Richard III is a victim of his own celebrity, and we don't really remember the play any more, retaining only what gives it its forbidden flavor, namely his character as a bloodthirsty tyrant who has become the epitome of evil incarnate. But who remembers his final monologue, in which he reveals to the audience his awareness of the immorality of his actions? Who remembers that he voluntarily chooses to be the villain because he is rejected because of his disability? Who also remembers that it's not just by killing his family that he gains power? No, it's by cunningly misleading citizens through the terribly contemporary use of fake news. Yes, when we tackle a classic work, we aim to embrace all its facets and all its contradictions, its universality as well as its resonances with current events.