Sherlock Holmes et le mystère de la vallée de Boscombe

Coco Baisos, a mature woman who likes to lead a big train, finds herself once again a widow, the fifth to be more precise. Bursting with energy and natural optimism, Coco is firmly determined not to be put down by fate. She immediately starts looking for a new companion, preferably a billionaire, so as not to have to give up her habits of luxury and pomp. She would indeed be very unhappy if fate forced her to modify her lifestyle. But the wallets trimmed do not run the streets. This manhunt, longer than expected, will hold many surprises for him ...

It's Easter time in Crisper County and cable news reporter Marlee Meade (Petunia Rhubarb) is hunting for a way to help others. On a tip that the old town theater will be shut down, Marlee cooks up a plan to save the stage and make a difference through the power of musical theater! With a cast of costume-clad townies, massive props and a 20-foot robot rabbit - "Up With Bunnies" is hatched! There's only one thing missing - the star of the show! When news spreads that singing sensation Cassie Cassava (Melinda Dolittle) is arriving to perform in her hometown church's Easter service, Marlee gets worried. Concerned about the competition, she schemes to steal the starlet for her own pageant! But when things go haywire, will it be curtains for Marlee's dreams - or will she discover the true meaning of Easter and what helping others is really all about?

Pour avoir Adrienne

Le visiteur

Opera in three acts, a prologue and an epilogue, by Jacques Offenbach (1819-1880), with a libretto in French by Jules Barbier (1825-1901), based on a work that Barbier himself and Michel Carré (1821-1872) had written based on stories by E.T.A. Hoffmann (1776-1822). Approximate duration: 2 h 45 min Recommended for those over 15 years old. The young poet Hoffmann, accompanied by Nicklausse, his alter ego and confidant, is in a tavern next to the theatre where Mozart's Don Giovanni is being performed. During the opera's intermission, some diners arrive at the bar who, upon seeing the poet, encourage him to sing and tell them the story of his famous love affairs. Hoffmann finally gives in and shares with them the stories of Olympia, Antonia and Giulietta. They, absorbed in the poet's stories, remain in the tavern, forgetting about the opera performance.

Le Tombeur

Le vison voyageur

Le plus beau dans tout ça

Maxime Depratte, a charismatic company director, invites Corentin Michelot, his meticulous and unassuming accountant, to dinner to "fix" a compromising financial statement just hours before a board meeting. Ségolène, Maxime's wife, is very upset about being an accomplice to this foolish dinner. However, through misunderstandings and plot twists, the three of them will uncover the hidden sides of their own personalities.

O Palco dos Rebeldes

Louis just found the corpse of a man in front of his apartment building. Taken in for custody by Captain Buron, he finds himself on the wrong end of a surreal interrogation. But how can you prove you are innocent when the cops are crazy?

When a construction worker unexpectedly joins a local theater's production of Romeo and Juliet alongside his estranged teenage daughter, the drama onstage starts to mirror his own life.

"Despite the multitude of characters and situations, the plot is simple: the eternal flow of life. It is based on Les contes fantastiques d’Hoffmann, a play by Jules Barbier and Michel Carré, who were inspired by some of the stories of the German E.T.A. Hoffmann. On a drunken night in the city, Hoffmann tells how he courted and lost three girls, his impossible loves: Olympia, a mechanical doll that only he believes to be truly human; Giulietta, the courtesan who steals his reflection in a mirror; and Antonia, a young woman who sings until she literally dies." Venue & Opera Company: Teatro Regio di Parma Recorded: 1988 Singers: Alredo Kraus, Ruth Welting, Jonathan Omilian, Barbara Hendricks, Elena Zilio, Nicola Gjiuselev, Bruno Buulgarelli, Francis Egerton, Aldo Bottion Orchestra: Orchestra Sinfonica dell'Emilia-Romagna "Arturo Toscanini" Chorus: Coro del Teatro Regio di Parma Chorus Master: Adolfo Tanhzi Stage Director: Beppe de Tomasi

Louis XVI.fr

Lapin

A sequence of musical scenes that define a tender and romantic story, typical of a fairy tale: that is what the theatrical version of Flinderella, which took place in 2004 at the Teatro Gran Rex, is all about. In this version full of fantasy, Greta tells a story to Tomás, a boy who is in his bed sad and without anything to cheer him up. The story tells the love story of a poor girl who lives on top of a train and a rich prince who lives in a palace. Despite class differences and the evil Delfina, love between Flinderella is possible. She is rich in dreams and poor in gold, he is rich in money but does not know how to smile. Flor Bertotti, Juan Gil Navarro, Benjamin Rojas (here a guide who leads Flinderella through the path of dreams) and all the cast of the novel.

Flinderella lives in a terrace and that's her world... A sad, dark, cold and lonely place that is transformed into a magical space, thanks to the light of our heroine's soul. Alongside her live her guardians of the heart: a magician, a fairy, an angel and a jester: they help her, accompany her and give her strength when she feels lost. Her joy and her ability to feel and dream make Delfina, her sister, hate her, envy her and try to destroy her. Delfina has everything that can be bought with money and lacks everything that comes from the heart. Such is the strength of the soul of our “Princess of the Terrace” that she manages to reverse Delfina's superficial and frivolous world. In this terrace love arises, since Max, a writer who lives nearby, manages to see everything that happens in the house of the evil Delfina and in the dome of the sweet Flinderella. A new tale with a great love story.

Chuck and Buck are childhood best friends whose lives have taken very different paths. While Chuck moved away and now has a real life, Buck stayed behind and developed a dangerous fixation—on Chuck's life.

Kristina Wong is an actual elected representative of Koreatown, Los Angeles. But before she created a raucous show about her current stint in Public Office, she was a scrappy performance artist with a bright future in reality television. The system she used to ridicule is now the one she’s become. Is she more effective as a performance artist or a politician? Can she Abolish ICE? Is there actually a difference between performance art and politics?

Le manteau de Janis