The theatre in Antibes that has become synonymous with its director Daniel Benoin has come of age, and its 2026/27 programme reflects it.
Taking the reins of an existing theatre complete with its faithful patrons and carrying on while just imbuing it with a tad of one’s own style is a relatively easy ask of an experienced artistic director. Literally designing a 2,000-seat venue from the ground up and leading it through the journey from a sketch on paper to first curtain, early experimental seasons, and the gradual shaping of its identity, requires a special kind of genius.
The new season is proof of the stature that Anthéa has reached in its 14th year. The programme would not be out of place in Paris, London, or New York, as the quality, diversity, and the calibre of marquee names testify. Almost 80 different shows, with well over 400 performances, make for a season that is uniquely rich in sensations. But before we talk about our coups de cœur (further below), it is important to understand why Anthéa calls this season the point where it has come into itself.
The Journey from Conception to Maturity
Théâtre Anthéa is the brainchild of two extraordinary men: Antibes’ mayor Jean Leonetti, who in the late noughties saw the potential and acted on it, and director Daniel Benoin, who turned this vision into a tangible reality – with the result that today, the theatre is the second House in France right after the venerable Comédie-Française, the classic reference for French theatre. The presence of major international artists, year after year, speaks to this vitality and appeal and of the respect the art world has for Anthéa.
Compared to other well-established theatres across France, Anthéa is still young but it has, against all odds, carved out a genuine and recognised place in both the regional and national cultural landscape. While all previous seasons were punctuated with highlights, there was still a lingering sense of experimentation, but Anthéa always knew what it wanted to be. And going into its 14th season, the House has now fully assumed its personality and expresses its temperament through a programme that is stronger and more confident than ever. That consolidation is the result of a clear and consistent vision well executed.
Spotlight on Daniel Benoin
The story of Théâtre Anthéa is inextricably intertwined with that of Daniel Benoin, widely considered one of the finest and definitely among the best-connected artistic directors in France.
The Stage Director
Benoin sees himself first and foremost as a metteur-en-scène, the artistic director of a play, not a theatre. As such, he cannot allow himself to fall back into convenience, or patterns that have served well previously. He needs to dig deep in his own creativity to be fresh and productive. His number one job is to keep up with changing times, trends, and tastes, and a notoriously fickle audience. This is why to this day he still stages at least one play per season that he personally directs. Most of the time, this will be an opera, but sometimes he revisits a classic or ventures into something entirely new.
The Head of Anthéa
At the helm of a theatre, his priorities shift. Here, it is about building a programme that is in touch with the themes that move the world and interpreting the general mood. The 13th season, frontloaded with political themes from Trump to immigration and the environment, is a classic example. Benoin unapologetically stepped into the role of a town crier by presenting shows that addressed those issues.
But maybe even more importantly, in times when one global crisis chases another, beauty, poetry, and humour become more important than ever to help people forget their worries for an hour and a half. That way, every programme becomes a balancing act.
Yet, he refuses to cater solely to mainstream tastes. His programming, established in close collaboration with secretary general Vincent Brochier, has always sought to bridge art forms, mix genres, and present work that is sometimes unfamiliar, sometimes demanding, often courageously selecting shows before they have been staged anywhere.
Photo © Philip Ducap 2022 Fine Art Photography
Over time, audiences have responded with curiosity, unwittingly broadening their own appetites through shows intended to gently push them beyond their comfort zones. Yet, it is a delicate balance. There has to be enough familiarity that allows “to surprise without disorienting, to offer without excluding, to open up new horizons while remaining accessible”, as mayor Leonetti describes the artistic philosophy of his city’s flagship theatre.
The Patriarch of the Theatre Family
But there is a third dimension that is no less important, and one that Benoin assumes with great joy: developing and nurturing talent. And he has several trump cards, made in Antibes, up his sleeves: ever-evolving companies like Collectif 8 (Paulo Correia and Gaële Boghossian), Collectif La Machine (Félicien Chauveau), or Start 361° (Clément Althaus) all have honed their craft here before going on to make a national reputation for themselves. Benoin spots talent early and treats it with the same care he would give to a Fabergé egg. The companies, in return, thank him by remaining loyal to their mentor and by creating pieces that are invariably audience magnets.
The Season That Changes Everything
Benoin’s longstanding record of presenting top-shelf artists, launching talent, and generating productions is even amplified in the 2026/27 season. How does he do that?
“When you have 16,000 subscribers and 170,000 visitors, with 92% of seats sold – like we did last season – that’s great, but then you have a problem: because every year, you need to do even better,” Benoin explains. “You have to offer even more interesting shows that other French theatres don’t have. Funny, amazing, magical, unique… and that is, quite simply, what we are trying to do.” Not resting on one’s laurels but doing even better every season – that this is the simple formula that Anthéa has followed so successfully for the past 13 years.
“Just Do Even Better”: Anthéa’s Parallel Tracks to Continued Success
This season also signals a new level of creative ambition. Seventeen shows will be created and produced in Antibes for the 2026–2027 season – a clear signal of a theatre which supports artists, brings works to life, and plays a full and active part in shaping the nation’s cultural life rather than just functioning as a receiving house.
The programme’s eclecticism is a constant… it is Benoin’s DNA and has been since day one. But if the 13th season was overtly political and outward-looking – it wanted to shake people, wake them up, and hold a mirror to the world – this season turns inward. The dominant themes running through the new work are not society and power but identity, memory, time, and the human condition at its most intimate. Even the canonical works are about the interior life rather than the political landscape. This is a season that has stopped needing to prove anything to the world and has turned its gaze on what it means to be human. That is maturity.
There is also a profound human dimension to this particular year. Benoin’s long-standing artistic relationships, some stretching back decades, give the season a personal and almost autobiographical texture, without it ever becoming nostalgic or self-indulgent. The past is ever-present, but in service of renewal. “It is for these friendships, encounters, crossings, and passages that I believe I can still be of use to this theatre,” he says. From a director of his stature, that sense of purpose is perhaps the most eloquent statement of all.
Finally, accessibility remains a founding principle. High attendance figures and a broad, inclusive audience, including first-time theatregoers, young people, and schoolchildren, confirm that artistic ambition and wide reach are not in contradiction here. At Anthéa, they are the same goal.
OUR TOP PICKS
From a programme this dense with quality and star power, it is impossible to recommend specific shows or choose favourites. We still tried to compile a Best Of, based on what may be most appealing to the region’s international audience.
Has Been | 8 & 9 October 2026 | Dance, Theatre, Circus
Martin Zimmermann and Sidi Larbi Cherkaoui are among the leading figures in contemporary circus, dance and theatre. In their first collaboration, they explore the concept of transience, confront their own artistic mortality with humour and clarity, and debunk the cultural cliché of the ‘has-been’.
Chilly Gonzales | 18 October 2026 | Music
Chilly Gonzales® – Alexandre ISARD
Canadian pianist Gonzo’s signature stage attire of slippers and a bathrobe is by design: it is his declaration that concert music should feel as close as a conversation in your living room. And just like a conversation meanders from one topic to another, the unclassifiable artist can deliver a sublime solo recital, dissect the musicology behind a Billie Eilish hit, and showcase his lyrical prowess as a rapper. The programme is there but you never quite know what to expect…
Comédie-Française | Le Bourgeois Gentilhomme | 12–15 November 2026 | Theatre
Regardless of the kind of theatre, no season is complete without at least one of Molière’s timeless satires. Centered on the vain Monsieur Jourdain, the venerable Comédie-Française’s interpretation of the 400-year-old Le Bourgeois Gentilhomme reflects our era’s staggeringly comical reality, mirroring its frantic quest for recognition, the fear of being ‘ordinary’, and the absurdity of a society that values image over substance.
Michel Jonasz | PianoVoix | 17 and 18 November 2026 | Music
Blues, rock, gypsy music, soul, jazz, or pop – there is no genre that the 79-year-old French legend doesn’t play. In the 15th year of touring with his partner Jean-Yves D’Angelo, this concert blends his iconic songs with fresh interpretations in an intimate and elegant setting. The chemistry between the two musicians is perfect as piano and vocals come together on stage. And as Michel Jonasz loves to engage with the audience throughout his recital, expect a truly complete and one-of-a-kind show.
Jean Reno | Le Chameau | 26 and 27 November 2026 | Theatre, One-Man Show
In this solo show, the iconic French cinema star finally does something he had been wanting to do for a long time: step on to the stage and tell the long and winding story of his professional and personal life. He takes a candid look at his origins, his ups and downs, triumphs and failures, the relationships that left a lasting impression, and lessons learned. All this, set in word and song, is performed against the backdrop of a comic book, making the show as unique as the artist himself.
Her Voice | 1 December 2026 | Dance
Nina Simone’s voice was more than just music: it was an act of resistance. It carried historical weight, moral clarity and uncompromising artistic strength. Three exceptional dancers – Daniel Proietto, Marion Barbeau and Shelmith Øseth – bring Her Voice back to life in a performance built around the singer’s original recordings, interspersed with dance and film screenings.
20 000 lieues sous les mers | 4–6 December | Theatre, suitable for children
In this loose interpretation of Jules Verne’s novel, Captain Nemo is a true modern-day pirate who takes everyone on a round-the-world voyage across the oceans, blending scientific exploration with the poetry of the deep. Actors interact with puppets, and the visual aspect takes centre stage, intentionally retaining an experimental feel. An excellent initiation to theatre and literature for children age 8 and over.
Lumière ! | 15 December 2026 | Animated lecture
When in 1895 the Lumière brothers invented the Cinématographe and shot the very first films in history, they also created the art of filmmaking. Thierry Frémaux, director of the Cannes Film Festival, recounts this epic journey of the moving image and discusses the pioneering work of these trailblazers – a lecture accompanied by numerous clips edited together especially for the occasion and a true highlight for movie enthusiasts.
Video via AD VITAM on YouTube
Clément Althaus and START 361° | Rimbaud | 5–15 January 2027 | Music, theatre
Under Daniel Benoin’s guidance, Clément Althaus and START 361° have grown into artistic heavyweights on the Riviera which do not have to hide behind the finest Parisian companies. In return Althaus creates at least one exceptional show per year in his trademark style of “rock opera meets theatre”, such as L’Intervention, Agôn, or Jean de la Fontaine.
This year, the multitalented composer and musical storyteller tackles Arthur Rimbaud, the French poet known for his transgressive and surreal themes and for his influence on modern literature and arts, prefiguring surrealism. In this story – neither homage nor biography – Rimbaud confronts himself: the rebellious poetic genius he once was before becoming an arms and spice trader. The fragmented, hallucinatory musical journey captures the feverish paradox of a man who abandoned verse to pursue the unknown, and suggests that true poetry begins where words end.
Simone Veil, les combats d’une effrontée | 8 and 9 January 2027 | Theatre
Based on Simone Veil’s memoirs Une vie, a “conversation” unfolds between two generations: a young researcher who studies Veil’s work, and the great Holocaust survivor turned politician and social rights advocate. How does one find the strength to devote one’s life to political struggles? How does one receive this legacy? Simone Veil’s words transcend time. Words directed towards future generations and, against all odds, providing a confident outlook on the future. This play is remarkable for what is said, but also what hangs in the air as an unspoken thought.
Le Fantôme de l’Opéra | 12 and 13 February 2027 | Musical, suitable for all ages
This is not a French adaptation of Andrew Lloyd Webber’s show, but a completely original reworking based primarily on Leroux’s novel, adapted by refocusing the story on the main characters and condensing the entire plot into a single evening: the premiere of that famous opera which Mr Firmin stole from the Phantom. Nevertheless, it features all the hallmarks that audiences expect from The Phantom of the Opera: the scene on the rooftops, in the lake, the falling chandelier… This Phantom has a hold over the young singer, which brings us back to very contemporary social issues and leads us to a message of freedom and self-assertion.
Collectif 8 | Electric Dream | 10–20 March 2027 | Theatre
Photo © Paulo Correia
Anthéa’s house company has redefined theatre, with its own brand of cinéâtre, where stage play and video projection merge seamlessly. After the company’s triumphant triptych of 1984, Le Meilleur des Mondes, and War of the Worlds, there is no longer the slightest doubt that this company is among the leading troupes in France and even beyond.
This year, inspired by Philip K. Dick’s exploration of a society emptied of feeling, Electric Dream examines empathy, technological dependence and the fragile qualities that define humanity. In a post-apocalyptic world where animals have nearly disappeared, a bounty hunter tasked with identifying lifelike androids through an empathy test begins to question the boundary between human and artificial after encountering the heiress of the corporation that created them.
Abd Al Malik | 30 March 2027 | Music, dance
Twenty years ago, Abd Al Malik made his mark on the French music scene with the album Gibraltar, a manifesto of tolerance whose title track told the story of a sea crossing between Europe and Morocco – a journey between two worlds that expressed the artist’s inner conflict, torn between his African roots and his French identity. A brilliant all-rounder – rapper, slam poet, writer, philosopher and film-maker – Abd Al Malik has found in creativity a means of resolving this identity crisis. To celebrate his twenty-year career, he returns with a show that brings together visual art, recitation, dance and music, in order to affirm once and for all that identity is a ‘universal-in-relation’, in the freedom and fierce pride of being, above all, part of the human adventure.
Immersion | Multiple dates | Hybrid
In this age of transdisciplinarity and hybrid practices, digital technology permeates both our daily lives and our imaginations. Artists are embracing it to challenge, amaze and sketch out futures deeply shaped by technology. Through new works, residencies, shows and performances, the theatre, in collaboration with the agency Soon Come, is opening its doors to contemporary and experimental aesthetics, letting us rethink the theatre as a space for exploration. This breaking down of disciplinary barriers transforms the flow of movement within the building and challenges our habits as audience members, thereby evolving the very philosophy of theatre.
In times when theatres struggle with filling seats, Anthéa continues to break subscription records. It is proof that the performing arts are still alive, that artists’ voices are still heard, and that even young people fall under the spell of a dark theatre the moment the curtain rises. That sends an encouraging signal. News of the theatre’s death were vastly exaggerated, it turns out. As the saying goes, “Those written off live longer.” Here’s to another exciting theatre year, Anthéa!
VENUE DETAILS
anthéa Antipolis Théâtre d’Antibes
260, avenue Jules Grec
06600 Antibes
Tel: +33 (0)4 83 76 13 13
General ticket information here, specific ticket sales here
PHOTO CREDITS
- All photos and images courtesy anthéa Antipolis Théâtre d’Antibes, and as credited
- Lead image © Fabien Chalon
- Video as credited
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