Basically, it’s an ordinary story between a man and a woman. Walled in. In the apartment they had chosen to be in the world together. And then time. Now it’s time to get out of here. More strength?! Or maybe they love each other. I don’t know. They strike and struggle. To create movement. To feel alive. It’s so ordinary. It really is. It’s really disgusting.


An apartment with an interior, a couple struggling to feel alive. An ordinary story. To relieve the boredom, they invite another couple, some neighbors. But it’s the whole building that comes. That’s us, sitting there, witnessing this violence, so malignant that it only intrudes into the intimate. The Demons, portrayed by Lars Norén in 1984, bear the first names of their performers, Lucrèce and Antonin. He returns home with a funeral urn: his beloved mother, whose ashes will spread over their consumed love. The mischief-makers have a field day: everyone spills their guts, puts on a show, sings off-key and smiles forcibly at the guests, who are fatally involved in the emotional conflict. The audacious Lorraine de Sagazan slips beneath the crunching words of this heir to Ibsen and cuts precisely where our ordinary monstrosities spring from, once the mask of social decorum has been removed. She rewrites and improvises on the sharp text, inviting the spectator face-to-face into its heart. At the center, on the edge of the moment and of interaction, the two actors exult, and so do we. For it’s excruciating, but delightful. La Brèche’s first signature is a delightfully explosive theater of emotion and sensation. Nothing is forbidden in performance, as long as it produces life.


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Press reviews

From start to finish, this show is demonic (…) You don’t miss a single crumb of the sideways glances and other assaultive phrases exchanged between the two actors, and you can hear the gasping breath coming from their chests. A performance of fire, blood and bones. Just the way we like it.

Joëlle Gayot, Télérama Sortir

An invitation to a perverse, chilling domestic scene (…)
Through the choice of a bifrontal set-up - placing the audience as close as possible to the action - Lorraine de Sagazan
is freely inspired by this starting situation, making each spectator a privileged guest and witness to this
witness to this devastating in camera action.

Patrick Sourd, Les Inrockuptibles

She has tightened and adapted Lars Noréen’s text. Above all, she came up with a brilliant idea.instead of inviting their only couple of neighbors into their home, they take the whole audience to task. And it works wonderfully.
Improv scenes abound. Antonin teases the audience (…) Lars Norén’s play makes perfect sense in this way. Bravo.

Jean-Luc Porquet, Le Canard Enchainé

The two actors, Lucrèce Carmignac and Antonin Meyer Esquerré, are astonishingly natural (…).who very early on proved they had talent and daring: Julien Gosselin, Thomas Jolly, Jeanne Candel,Samuel Achache, Julie Deliquet, the next generation is already ready.
The experience of this Démons is astonishing. There’s no way I can reveal the secret of this staging here.but what is certain is that the audience will be exploring new theatrical territory with the actors.

Thierry Fiorile, France Info