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The opportunistic Tartuffe feigns devotion to take over Orgon’s wealthy household. A perfect chameleon, he has sniffed out the gentleman’s flaws and nestled within them. From the bosom of his protector, he begins a rise as meteoric as his sense of deception. Under the influence of the obscurantist propaganda with which the bigot inundates him, the patriarch refuses to let the poison seep into his innermost being. Then the venom takes effect, and the family implodes! “In Molière’s work, women are compasses. They fight for freedom, and thanks to them, hope serves all forms of resistance,” emphasizes director Jean Liermier. Written in 1664, Le Tartuffe offers, through the alexandrine, the poetic shift necessary to reveal an emblematic fable, resonating with our 21st century, riddled with egotism, sectarianism, fanaticism and conspiracy theories of all kinds. In a refined setting, from which the austere lines of this family corseted by the desire of Orgon – played by Gilles Privat! – stand out, Molière seems to whisper in our ears: fear, fascination, the temptation to rewrite History and the law of the strongest have always plunged a Society into suffering. Will we be hypocrites in our turn? It’s up to us.

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Married to Anna Petrovna, whose tuberculosis has doomed him to failure, and riddled with debt, Ivanov is no longer able to cope with adversity.

In four breathless acts, this ordinary man, a petty bourgeois from central Russia and a penniless landowner, sinks into a paralyzing melancholy that leads him to helplessly witness his own sinking. The comical twists and turns that toss this anti-hero between renewal and despondency will make his destiny a gripping journey through the fascinating labyrinth of the human soul. Chekhov wrote Ivanov in ten days. It was 1887, he was 27 years old, and the radicality of his brilliance permeates his first major play, where tragedy and comedy are intimately intertwined. Jean-François Sivadier, a man of the theatre with a unique style, writer, actor, and director, surrounded by veteran performers and brand-new companions, takes on this brutal and innovative version, reviving Chekhov’s incandescence.

Driven by the writing of one of the most fabulous poets of all time, his production resonates with Gustave Mahler’s quote: “Tradition is not the worship of ashes, but the transmission of fire.”

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Anyone who has attended can attest to this: the Théâtre de Carouge’s seasonal presentations do more than simply announce the festivities to come. Like the flash of color that precedes the sunset on the horizon, this event is a theatrical “green ray,” a fireworks display slipped into the interstice between the twilight of one season and the dawn of the next, the evening of small confessions about past moments and big revelations about the DNA of future programming. This final presentation of the season will be plural, hence the “s” in parentheses in the title… We will offer you an anthology of sequences culled from the past eighteen years, a sparkling glance in the rearview mirror for an escapade in words, images, and sounds, orchestrated by Jean Liermier, accompanied for the occasion by a constellation of surprise guests. Embark on a fun and spectacular journey through the life of the Theatre, behind the scenes of a creation, enhanced with anecdotes and emotions spread between 2008 and 2026. And it’s a safe bet that at the end of each of these evenings there will be a vibrant: “Welcome to the most beautiful Carouge Theatre in the World, your Theatre!!!”…

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Once upon a time, “Bluebeard” gave his young wife a set of keys that opened all the castle doors except one—which was strictly forbidden to her. The young bride broke this ban and discovered her husband’s repeated femicides.

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