Luxembourg Theatre Newsroom

The past few weeks have truly been remarkable. After Les Misérables and The Peaky Blinders, one might wonder how this small country could surprise us further. Well, it seems a local production of The Sound of Music has done just that.

This week, we had the privileged of attending  Rambert’s formidable show Peaky Blinders: The Redemption of Thomas Shelby. This was clearly one of the most anticipated shows of the season.

The weekend of Les Misérables. For those truly passionate about musicals, the Rockhal has just hosted one of the artistic highlights of the season: the World Tour of what is arguably one of the most famous shows of all time.

Last week, we had the pleasure of attending Romeo Castellucci’s Bérénice, a show based on the 17th century play by Jean Racine. Our leading actress was the great Isabelle Huppert, around whom an amazing constellation of artists delivered a unique retelling of this timeless tale.

To kick off the 2024-25 season, we had the pleasure of covering Lone Wolf, performed at our esteemed Grand Théâtre. This creative show, crafted by Anne Simon and Isaac Bush, dives deep into the consequences of herd mentality and the impact it can have on both societies and individuals. The use of gibberish as the main mechanism of communication displayed just how universal these scenarios can be. With just a few performers and a handful of props, the play managed to reflect on three main angles of groupthink and peer pressure:

For our last review of the 2023-24 season, we attended the play Cock at the Théâtre des Capucins, produced by our esteemed Théâtres de la Ville and directed by Anne Simon.

The play focuses on four characters, as they meet for drinks after a university faculty party. Martha (Anna Steffens) and George (Luc Feit) are a dysfunctional and bitter middle-aged couple. At Martha’s suggestion, Nick (Benjamin Kaygun) and Honey (Jil Devresse) are invited over after the academic event for what could have been a friendly get-together.

At the helm of a formidable cast of actors and musicians, Bellorini and his company crafted a memorable show with a uniquely layered narrative, that surely touched the hearts and minds of everyone in the audience.

Last week, we had the pleasure of attending Joseph Stein’s timeless classic Fiddler on the Roof, courtesy of our esteemed Grand Théâtre

In this timeless tale of love and tragedy, the hero Orpheus (Marie-Claude Chappuis) ventures to the depths of the underworld to retrieve his deceased wife, Eurydice (Mirella Hagen), only to discover that even when working under the grace of gods, fate can be very hard to overcome.

Last Friday, we attended the premiere of Lemi Ponifasio’s Love to Death, the anticipated third instalment of the Red Bridge Project. The show seeks to break our standard understanding of theatre, with a healthy and creative symbiosis between traditional dramatic elements and bits and pieces of the real world.

Just a few days after Message in a Bottle, Broadway World had the pleasure of attending the premiere of Danse Macabre. The two shows take radically different approaches to the same topic, perfectly displaying two possible dichotomies of storytelling.

To start off 2024, we attended the premiere of Message in a Bottle, a Sadler’s Wells and Universal Music UK production, choreographed and directed by Kate Prince. The show tells us the story of a family pushed out of its homeland by the horrors of war and forced to migrate across the sea towards safety.

What would do if you were given one wish by the devil? And even if your wish was vain, could you truly make the best of your new life?

There were so many interesting elements, that the reader will surely allow us to break from our usual three-medal article, in order to included every reason why you should be watching this show.

For our first show of the season, Broadway World attended the premiere of MacBeth, hosted by our esteemed Grand Théâtre of Luxembourg.

This weekend, Broadway World attended the premiere of The Writer, hosted by the Théâtre des Capucins. Directed by Claire Thill, the play goes over gender and interpersonal dynamics in the world of art and in society as a whole.

We sat with Alice Borgers, who played Camille in last week’s On Ne Badine pas Avec l'Amour. In an hour that really flew by, the Belgian actress shared with us some interesting takes and stories about her experience as a rising figure in our artistic scene.

This week, Broadway World attended the premiere of Alfred de Musset’s classic On Ne Badine pas Avec l’Amour at the Grand Théâtre of Luxembourg.

This week, Broadway World had the pleasure of attending Songes d'une Nuit..., a bold adaptation of the classic Shakespearean masterpiece A Midsummer Night’s Dream.

This week we had the pleasure of attending Patricia Guerrero’s Deliranza, an ambitious dance production with an innovative take on flamenco, built on a combination of the classic Spanish art style and a surreal narrative tone.

What better way to start 2023 than with a visit to our esteemed Grand Théâtre of Luxembourg? The play that got the year started for us was FC Bergman’s 300 el x 50 el x 30 el.

This week, the Grand Théâtre of Luxembourg presented us with with Botis Seva’s BLKGOD, a remarkable dance performance reflecting on the ugly nature of modern social relations, on the burdens of self-awareness and on youth’s constant treading on the slopes of self-destruction.

Following up on our last review, this weekend we had the pleasure of attending Eternal Road, a performance about the life and career of Kurt Weill.

This week, it was our pleasure to attend the premiere of Kurt Weill’s Rise and Fall of the City of Mahagonny at our esteemed Grand Théâtre of Luxembourg. This controversial play from 1930 narrates the moral decline of a city oriented towards little more than hedonism and debauchery, where self-indulgence is the only voice that matters.