Shows to see right now: Romancero queer by Virginie Despentes, Molière and his masks by Simon Falguière

To help our readers navigate the abundant cultural offerings, journalists from Libé 's Culture department clear the ground and deliver the essentials of what they liked (or didn't like) in the latest dance, circus, and theater shows. And every Saturday, our Top 10 of the week, all disciplines combined. Find all of our selections .

Under the vigorous baton of Pier Giorgio Morandi, the Athens Opera Orchestra sounds supple and percussive in its interpretation of Puccini's masterpiece . The choruses are vibrant and the lead singers are world-class.

Rapes, combat, and then invisibility in official history... Soviet women volunteers from the Second World War emerge from the shadows at the Printemps des Comédiens in Montpellier, in a production by Julie Deliquet where the unspoken becomes blatant. A vibrant show that resonates with current events in Ukraine.

Carried by the vitality of her troupe , the first play written alone by the author skillfully takes up the codes of good old dramaturgy to highlight its flaws.

Created at the Moulin de l'Hydre, a former Norman spinning mill converted into a theatrical residency, and revived at the Printemps des Comédiens, Simon Falguières' latest creation offers a promising detour into comedy.

This is a show of monstrous ambition, which intends to show everything about this great family of Atrides by using every means possible, from ancient theater to contemporary soap opera, including Shakespearean political fable, vaudeville, classical tragedy, horror comedy and cabaret. Fifteen actors, all from the same class of the Conservatoire national de Paris, alternate with passion between the different registers of these brilliantly rewritten Atrides. Read our review at the time of its creation .

Between family drama and state scandal, Tiago Rodrigues delivers a variation of Euripides, served by the virtuoso actors of the Comédie-Française, which nevertheless does not escape an overly emphatic pedagogy. Find our review from its presentation at the Avignon Festival .

The Italian director is reprising his adaptation of Wagner's Swan Song at MC93, Schwanengesang D744 , with soprano Kerstin Avemo, pianist Alain Franco, and actress Valérie Dréville. Between sublime singing and disturbing insults. Read our review from when it was presented eleven years ago...

Louis Arene and Lionel Lingelser's new creation this time tackles Shakespeare... but revisited with a Munstrum twist, his masks and his post-apocalypic universe. Our portrait of the two founders of the troupe .

So, at the beginning, there is a man (the formidable Claire Dumas) who is energetically macho, who accosts the audience while we take our seats. His voice is dubbed, masculine but accompanied by a feminine echo, his leotard which emphasizes his height but also his sex, distills a doubt about his gender… With Encore, plus, partout, tout le temps, the collective talks about male domination and ecological catastrophe. But it disappoints with its use of stereotypes. Read our review at its premiere .

Men question their masculinity. For those already aware of these issues, the point is undoubtedly thin, yet the show challenges , and – fascinatingly – this is played out in the relationship between the bodies on stage and the bodies in the audience. The eight actresses and actors are excellent, and even more: they are deeply desirable.

Is a huge star like Nina Simone more subversive in 2025 than in the 1960s? What would happen if she returned today to stride across the stage as she did in Harlem, New York, in 1969 during an open-air concert, echoing the words of the poet David Nelson: "Are you ready, Black people? Are you ready to do what it takes? Are you ready to kill if necessary? Are you ready to tear down the white world? To burn down buildings? Are you ready to build a Black world?" Eight years after its creation, this dual portrait of an icon and her performer continues to be enriched with new layers and new resonances. Read our report from her Louisiana tour .

The director has mischievously adapted Feydeau's crudely language, anti-bourgeois play depicting the incredible night of two lovers. Between its frightening technicality and the desire to produce a grand spectacle , Stanislas Nordey wanted the vaudeville to become a manifesto against the budget cuts targeting live performance. Read our review of the show .

What will remain of our world in the future, when everything that makes up our civilization has disappeared? In the distant future, "remembrance rituals" are held every sixty years to study fragments of the past and thus transmit the last traces of an extinct society. Neither a harsh critique nor a nostalgic ode to our time, the play is a tender and vigilant look at what we are. Read our review .

The director presents one of his very first plays. He revisits the young man he was then and the closed-door environment of a home under the bombs in Lebanon. Read our review .

At the Comédie-Française until July 15, Elsa Granat explodes Anton Chekhov's fatalist classic, injecting accuracy and compassion into a powerful production .

Sinister, a drama queen creature played by Jean-Luc Verna, and Festive, Jonathan Capdevielle in a blonde wig and panther dress, interweave acting and singing to portray the elegance of despair. Our review .

Jumping from one language and era to another, the Franco-Irish actress uses humor and suspense to recount her quest for a vanished ancestor whose absence has obsessed her since adolescence. Our review of the play, during its run at the Avignon Off .

Every day, discover the choices of Libération's Culture department . Exhibitions on Monday, theater, dance, and opera on Tuesday, movie releases on Wednesday, books on Thursday, music on Friday, series on Sunday... And on Saturday, it's the Top 10 of the week. Everything we liked (and sometimes disliked) in the cultural news.