Gary Lee Kraut, right, interviews actor, director, playwright Jean-Philippe Daguerre, left.
Paris has an extensive and vibrant theater scene. On any given evening, dozens of plays take to the stage, from productions of classics or contemporary works in national public theaters to comedies and one-man/woman shows in small private theaters, with much drama and many laughs in between.
Among them, there will likely be a play directed by, written by and/or starring Jean-Philippe Daguerre, one of the most recognizable names in Paris theater life, whom I’ve interviewed in the video further below.
Yet theater is the one major aspect of cultural life in Paris that foreign visitors rarely experience. Why’s that? Language, of course, but is that necessarily a barrier?
Some theaters have made efforts to attract foreign visitors, particularly English-speakers. Surtitling glasses are available at the Comédie Française; the Odéon-Théâtre de l’Europe presents English surtitles (and some plays are performed in English); productions at the Théâtre Edouard VII and the Théâtre Le Ranelagh may also have English surtitles; there are several stand-up acts in English, along with musical theater, enjoyable whether in English or in French.
Anyway, the emotions of the theater don’t come from words alone. The acting, directing and phrasing can be appreciated, felt, even apprehended without comprehending individual words. Think of Shakespeare in our own language, sort of; we sense Hamlet’s internal drama as he questions to be or not to be when speaking of “The insolence of office, and the spurns/That patient merit of th’unworthy takes/When he himself might his Quietus make/With a bare Bodkin? Who would Fardels bear…” while understanding nary a word. How different can it be with Molière?
Even without understanding French, spending 60 to 90 minutes in a small theater—and there are many—makes for an inexpensive cultural treat for the sheer pleasure of being seated within spitting distance of the actors on stage. Tickets can be had for under 30 euros. And if you do know some French, attending a comedy in a small theater is a terrific way of challenging yourself to grasp a story line without understanding every word. Servers in restaurants and staff in hotels will switch to English at your first “bonjour,” but actors won’t. Besides, the inevitably joyfully silly set-up will be clear within five minutes. Tickets aren’t too difficult to come by, including half-price same-day tickets.
As further encouragement to consider going to the theater in Paris, I invite you to watch my interview below with Jean-Philippe Daguerre. Daguerre is a prominent figure in French theater life, winner of multiple Molière Awards for acting, directing and writing. The Molières are Paris’s equivalent of the Tony Awards in New York or the Olivier Awards in London. Daguerre and his work have also appeared on stages in the United States, Canada and the United Kingdom. Two of the plays that he’s penned are currently showing in Paris: Du Charbon dans les Veines and La Femme qui n’aimait pas Rabbi Jacob.
Give a listen as Daguerre discusses the differences between acting in Paris, London and New York, France’s developing musical comedy culture, the interest of Paris theater for English-speaking visitors, and The Woman Who Ddn’t Like Rabbi Jacob, his latest work as a playwright.
This interview took place during the Salon de Spectacle Vivant, a fair for the performing arts of which Jean-Philippe Daguerre was the guest of honor, on February 2, 2026. The biannual fair is organized by Charlotte Calmel (ChaComDif) and Laurence Trinquet (CultureLLes).
(c) 2026, Gary Lee Kraut. All rights reserved.
Watch more France Revisited interviews along with other videos on the France Revisited Youtube channel.