March 17 @ 10:00 am – July 5 @ 5:00 pm

Co-organized with the Morgan Library & Museum New York, this exhibition, the first dedicated to Renoir’s works on paper, will highlight the importance of graphic techniques in the evolution of his art. It also reveals the intimate links between his paintings and drawings, particularly from the 1880s, when Renoir moves away from Impressionism but continues to reinvent himself.

For those of you who love, like me the work of this incredible impressionist; Alerte, you should really reserve in advance

Musée d’Orsay

Temporary Exhibition Area – Seine Gallery, level 0

March 17 @ 10:00 am – July 17 @ 5:00 pm

La modernité Heureuse, 1865 -1885. A temporary exibition of some of Renoir’s moste beautiful paintings illustration LOVE

There will be a lot of visitors to the beautiful exibition so think to reserve your spot!

Temporary Exhibition Area – Seine Gallery, level 0

March 24 @ 10:00 am – July 26 @ 8:00 pm

Coup de Coeur: those who have seen this exibition are blown away!

In the bright light of his last years, Matisse invents a new language: that of cut shapes and pure color. More than 300 paintings, drawings, books and cut-out gouaches retrace, between 1941 and 1954, the journey of an artist free and in perpetual movement.

The exhibition Matisse. 1941–1954 sheds light on the last years of Henri Matisse’s career, between 1941 and 1954, through more than 300 works, paintings, drawings, cut-outs, illustrated books, textiles and stained glass windows, from the collection of the Centre Pompidou and major international loans. It reveals the multidisciplinary dimension of his practice during this period while bringing together an exceptional set of cut-out gouaches.

April 8 @ 10:00 am – June 30 @ 5:00 pm

This new temporary exhibition within EPIC The Irish Emigration Museum asks how the millions of Irish people in England have fared over the past 200 years. Based on landmark economic history research using new big data analysis, it tracks the wealth, health, and living standards of Irish migrants and families of Irish descent, showing that the Irish were substantially poorer than their English neighbours for generations.

No Irish Need Apply? highlights the extraordinary contribution Irish women and men have made to the English economy and wider society, through their hard work, vibrant culture, and political activism. The exhibition also includes the words and music of Irish migrants in England captured in Philip Donnellan’s 1965 film “The Irishmen”, in collaboration with the Irish Film Institute. 

April 20 @ 10:00 am – September 13 @ 5:00 pm

On 11th November 1976, a devastating fire at Malone House in South Belfast – where the Ulster Museum’s fashion collection was being stored at the time – led to the near-total loss of the original costume and textile collection.

Fifty years on, the Ulster Museum fashion collection stands stronger than ever. A collection reborn through significant acquisitions, a future-proof collecting policy and generous donations, making it one of the most important collections in Western Europe. 

Ashes to Fashion marks this extraordinary milestone with a stunning showcase of fashion from the eighteenth century to today, from historic garments to contemporary pieces by Chanel and Versace. 

April 22 @ 9:00 pm – September 13 @ 11:00 pm

In the summer of 1971, Marie-Claire, 16 years old, becomes pregnant. Although it is a crime punishable by law, she does not want to keep the child. She wants an abortion. Her mother, Michèle and other women Lucette, Renée and Micheline are doing everything they can to help her. The “back-street abortion” goes wrong… Autumn 1972. All of the women are indicted. A certain lawyer, Gisèle Halimi, will orchestrate this trial, the Bobigny trial. Their courage helped to write the next phase of the history of women in France.

« Ce procès revit par la grâce d’un spectacle à la fois joyeux et grave, engagé et réjouissant. (…) Vif, rythmé, drôle, loin d’une pièce à thèse, le spectacle traverse la grande Histoire par la petite. (…) La salle se lève en criant « Bravo! » ». – ELLE

« Barbara Lamballais et Karina Testa s’emparent du Procès de Bobigny et proposent au Splendid une pièce délicieusement incarnée, résolument touchante. (…) On découvre les parcours de ces six femmes, interprétées par six comédiennes admirables (…). » – La Terrasse

Our highly esteemed Mná Member and talented actress and writer, Kelly Rivière takes us on a journey through the dreams, encounters and surprises that make up our lives.

Following the success of an Irish story, Kelly Rivière returns with ‘La Vie Rêvée’, a one-woman show in which she plays Kelly Ruisseau, her alter ego, and a cast of colourful characters in her life.

There is the life we dream of… and the one we lead. At 45, Kelly Ruisseau takes stock: neither a prima ballerina nor Liza Minelli, she navigates between dreams, desires entrusted to others and unexpected reality. With humour and emotion, she explores what keeps us going, brings to life the memorable encounters along her journey and ponders what it really means to ‘succeed in life’.

Don’t miss this Stunning Show!

May 8 @ 7:30 pm – July 11 @ 9:30 pm

Corrupt politicians. Everyday blackmail., Shade and side-eye: sound familiar? Welcome to Wilde’s AN IDEAL HUSBAND.

Step into a world of wit, intrigue, and timeless charm with our thrilling new production of Oscar Wilde’s An Ideal Husband. Experience the sparkling dialogue, sharp social satire, and a story layered with secrets, scandal, and unexpected romance. This classic play invites you to explore moral dilemmas and the complexities of human nature.

 “Morality is simply the attitude we adopt towards people whom we personally dislike”. 

Oscar Wilde revolutionised theatre with his sharp wit and biting social critiques. His plays, including The Importance of Being Earnest and Lady Windemere’s Fan, blend humour with profound commentary on human behaviour.  

An Ideal Husband is directed by Marc Atkinson Borrull whose recent credits include Three Sisters (Gaiety Theatre) and A Misanthrope (Smock Alley Theatre).  

Matinées on certain days

«Molière’s last piece begins in the hues of a finishing day. It is a crepuscular comedy tinged with bitterness and melancholy.”

It is with these words that Claude Stratz, now deceased, depicts Le Malade imaginaire which he staged in 2001, and which, played more than 500 times since then, is one of those timeless shows visited by generations of comedians and actors from the Troupe. The refined staging restores the infinite palette of this comedy-ballet.
February 10, 1673, Molière, in the role of Argan, creates his new work where it is question of a true or a false sick person, of a true or a false doctor, of a true or a false master of music, of a true comedy but with dramatic accents. Seven days later, while he was giving the fourth performance of the play, the lung disease that he had just contracted forced him to stop and took him away a few hours later. Attempting from then on to see the shadow of the dying playwright hovering over the character of Argan, who “in his own misfortune chooses to make us laugh,” even if history teaches us that Molière was not suffering when he wrote his last play. If the charlatanism of doctors is a privileged theme of the author, it is medical science itself that is attacked in this satirical farce, coupled with a dark and lucid meditation on the fear of death. Victim of the intrigues of Lully, in royal disgrace, killed by the death of his son and his lifelong friend, Madeleine Béjart, Molière nevertheless delivers here one of his most brilliant comedies.

June 14 @ 7:30 pm – July 13 @ 10:30 pm

Pleasure but not love: this is what the heroine of La Traviata quickly understands, summoned by right-minded people to stay in her place.

For the director Simon Stone, skilled in reinscribing the works in our daily life, Violetta Valéry is not that courtesan who sells her body, as in the time of Alexandre Dumas son, whose novel La Dame aux camélias inspired the opera by Giuseppe Verdi.

She is a diva of social networks who sells her image through ‘selfies’ and ‘likes’. But this hyperconnected world does not prevent the beautiful, as in the 19th century, from having to sacrifice her love for Alfredo at the altar of morality.

This contemporary reading accords with the intentions of Verdi who, while composing a feverish and virtuoso music, criticizes the brutality of a society of appearance, a machine to crush individualities. Especially when they are women who aspire to be free.