Once upon a time, a vision took the stage. Le Rideau de Bruxelles. It stands as the oldest theatre company in Brussels and even Belgium.
Imagine Claude Etienne a young actor with a dream. He founded Le Rideau de Bruxelles on March 17 1943. For 49 years he directed it. His leadership fostered uninterrupted creation and discovery.
Le Rideau de Bruxelles has only had four artistic directors. Claude Etienne until his death. Then Jules-Henri Marchand co-directed with Martine Renders from 1992 to 2008. Michael Delaunoy followed. He worked with Martine Renders in administrative management until December 2011. Then he co-managed the theatre with Catherine Briard until October 2020. On June 22 2020 Cathy Min Jung was appointed artistic and general director. She took over from Michael Delaunoy in September 2020.
The theatre champions contemporary creation. It reveals unique Belgian and international writings. It showcases new stage practices. Le Rideau de Bruxelles actively remembers the past. It explores the 20th-century French-Belgian repertoire. It also presents foundational international works.
Le Rideau was the first institution in French-speaking Belgium to commission Belgian playwrights. Without Le Rideau Paul Willems might never have written for the theatre. Plays by Crommelynck Sion and Bertin were performed here. Later works by Jean Sigrid René Kalisky and Paul Emond graced the stage. Not to mention William Cliff Éric Durnez and Thierry Debroux. Clément Laloy Paul Pourveur and Serge Kribus also contributed. Brigitte Baillieux Patrick Lerch and Thierry Lefèvre added their voices. Cèline Delbecq also featured. Flemish playwrights like Hugo Claus Jan Fabre and Tom Lanoye were included.
Le Rideau de Bruxelles played a crucial role in discovering texts. Tennessee Williams’ “A Streetcar Named Desire” premiered in Europe here. Beckett’s “Waiting for Godot” debuted in Belgium at Le Rideau. Brecht’s “The Caucasian Chalk Circle” also premiered in Belgium. Pirandello Claudel and Lorca were staged here. O’Neill Arthur Miller and Adamov found a home. Ionesco Dürrenmatt and Duras were presented too. Vaclav Havel Pinter and Tom Stoppard also featured. Botho Strauss Peter Handke and David Mamet were performed. Koltès Valère Novarina and Sarah Kane added to the mix. Jon Fosse Ascanio Celestini and David Harrower were included. Hanokh Levin Henning Mankell and Juan Mayorga joined the ranks. Christophe Pellet Gilles Granouillet and Antonio Tarantino staged work here. Carole Fréchette also contributed.
Much of what mattered in theatre writing since the 1940s has been represented at Le Rideau. Often it was created in French.
Le Rideau’s programming is bold and risky. It is defended by Belgian and foreign artists. Some are well-known. Others are on their way. Le Rideau has two associated artists Axel Cornil and Céline Delbecq. It produces its own shows. It also co-produces with many structures. These are both in Belgium and internationally. Le Rideau fosters openness and conviviality. It organizes meetings with the public related to the shows. It collaborates with non-theatrical associations.
So as you stand before Le Rideau de Bruxelles think of all the stories told here. Think of the artists who brought them to life. Think of the audiences who were moved by them. Le Rideau continues to create. It continues to inspire. It continues to be a vital part of Brussels’ cultural landscape.