• Wednesday 25 January 2012 - 20h30
• Thursday 26 January 2012 - 20h30
• Friday 27 January 2012 - 20h30
• Saturday 28 January 2012 - 20h30
• Sunday 29 January 2012 - 15h00
• Tuesday 31 January 2012 - 20h30
• Wednesday 1 February 2012 - 20h30
• Thursday 2 February 2012 - 20h30
• Friday 3 February 2012 - 20h30
• Saturday 4 February 2012 - 20h30
• Sunday 5 February 2012 - 15h00
• Tuesday 7 February 2012 - 20h30
• Wednesday 8 February 2012 - 20h30
• Thursday 9 February 2012 - 20h30
• Friday 10 February 2012 - 20h30

THE MILLIONAIRE'S OPERA
Drama likes crooks, who, thanks to their manipulative skills, flamboyantly shed light on the weaknesses of the society in which they live. 

Ponzi's name came up during Bernard Madoff's trial, who cited him as a model behind his own fraud. This is how David Lescot heard about this Italian who got to the United States at the beginning of the last century, and who, after a few tough years, made a fortune by promising quick and colossal returns to whoever would entrust him with their money. Neat and simple. That is evidence that the lust for profit erases any critical thinking and weakens the boundary between honest and dishonest money. But we are not concerned with morals here. David Lescot admits he likes crooks. At least in the theatre, which, from Tartuffe to The Government Inspector via Le Menteur [The Liar], among others, turns them into heroes. It is true that thanks to their skillful corruption of the system, they reveal its flaws. A beautiful subject for comedy, necessarily musical as is all of David Lescot's drama. But it is also an X-ray vision of the early days of financial capitalism, of the crises and storms it rouses among us. The final result is a chora group portrait, scathing, scandalous, centered around Ponzi, an antihero in the image of his century, who manages to profit from everything. Only death will get the better of him. 

Colette Godard