Offenbach takes center stage with Belle Lurette at the Théâtre du Gymnase Marie Bell

Presented at the Théâtre du Gymnase in Paris, Jacques Offenbach’s comic opera Belle Lurette is making a vibrant comeback in a faithful new staging by Les Tréteaux Lyriques, running from January 9 to February 1, 2026. Read our review!

Presented at the Théâtre du Gymnase Marie Bell in Paris, Belle Lurette, the unfinished operetta by Jacques Offenbach, is making its debut in France in its authentic version from January 9 to February 1, 2026. Brought to life by the Tréteaux Lyriques company, this production is conducted by Laurent Goossaert and directed by Yves Coudray, with the aim of restoring the work exactly as the composer had envisioned before his death in 1880. Long known through altered versions, Belle Lurette is now presented in a restored form, free of posthumous edits, offering a fresh interpretation of this rare Offenbach score.

Work on Belle Lurette had already begun while the composer was simultaneously working on Les Contes d’Hoffmann, but the opera remained incomplete at his death. Although the libretto and piano-vocal score were finished, the final orchestration was missing. His close friend, Léo Delibes, took up the baton, making significant changes to the dramaturgy and musical structure—especially in the third act. Later editions piled on errors, omissions, and musical substitutions, so much so that the original version by Offenbach disappeared from the French scene.

Offenbach à l'affiche avec Belle Lurette au théâtre du Gymnase Marie Bell - découvrez notre avis — ©Gilles Plagnol

Belle Lurette: an unprecedented musical and dramatic reimagining

The restoration work carried out by Laurent Goossaert is based on a complete return to the original piano-vocal score. The conductor has reorchestrated the entire piece, reconstructing missing harmonies, sequences, and numbers, guided by the original notes left by Offenbach. The orchestra employed for this performance mirrors the typical Parisian pit orchestras of the 19th century, with 19 musicians, to recreate a sound palette true to the era. This approach makes it possible, for the first time since 1880, to present a cohesive and fully restored version of Belle Lurette.

Yves Coudray’s staging offers a thoughtful dramaturgical take on the opéra-comique genre, steering away from the usual satire often linked to Offenbach. The piece paints a social portrait rooted in the vibrant working-class districts of late 19th-century Paris, focusing on the character of Belle Lurette, a laundress and central female figure. The libretto portrays a predominantly female working environment — structured and supportive — where social and gender power dynamics are clearly laid bare. This perspective situates the work within a realistic framework, reflecting the social changes sweeping through the era.

Our take on Offenbach's Belle Lurette at the Gymnase Marie Bell Theatre:

Our team caught a glimpse of Belle Lurette during one of its performances. What can you expect when you go see this show? Certainly, an operetta in its purest form, filled with singing, theatrical flair, and plenty of humor. The comedy, in particular, is cleverly woven in by Offenbach, especially through what’s called the "off-stage" moments—basically, what’s happening behind the scenes or around the main characters on stage. Some scenes are bustling with many characters, making it easy to lose track when the spotlight is solely on the singing duos or trios in the center of the stage.

But what truly makes the work shine is this: a script that is masterfully delivered not only by the main actors but also by the supporting characters, through expressive gestures, evocative language, and playful interactions with the audience in the background. Take, for example, the lobster scene—beyond the hilariously catchy song performed by Marceline, the laundry shop owner, the humor is amplified by the maid, played by several soldiers, who comically conceal the lobster platter from the mistress of the house, adding a delightful and funny touch to the scene.

What else can you expect? An artistic approach that deliberately distances itself from the traditional norms of classical opera. Indeed, the Tréteaux Lyriques company is a group of amateur performers mentored by professionals, all volunteering their time, which means the performance isn’t quite as polished or impeccably structured as a formal opera. Perfect for a seasoned audience, then. If you're expecting opera with its grandeur and surgical precision, this isn’t the place to be. That’s also the intention behind opera comique in its presentation: a fusion of theatre and opera, far more accessible. And the troupe masters this balance flawlessly.

Still, it’s a top-tier show, thanks to the impeccable performances both spoken and sung. The costumes are stunning and vibrant, blending period pieces with modern touches, while the minimalist but intricate sets skillfully draw the audience into the story.

The second "intermission" is quite refreshing, as it encourages audience participation by teaching a couplet from two songs that will need to be sung during the curtain call. Conductor Laurent Goossaert guides us through this with plenty of humor. It’s all in good fun and really lifts the spirit. Special mention to Béatrice Grinfeld, who plays Belle Lurette; her performances are stunning—powerful yet perfectly pitched. Lastly, since the theatre isn’t particularly warm, make sure to bring a cozy sweater and a scarf.

A refreshing show to watch, especially for a forgotten gem that we're eager to rediscover.

A Production Driven by Artistic Vision and Social Responsibility

To wrap up, a quick update on the troupe: founded in 1968, Les Tréteaux Lyriques brings together dedicated volunteer performers from diverse professional backgrounds, alongside seasoned artists. Each production involves singers, musicians, choir directors, costume designers, and technical staff, all collaborating on a shared artistic vision. Their repertoire remains notably loyal to Offenbach, with several of his major works already brought to the stage.

Beyond its artistic significance, Belle Lurette proudly carries a strong social commitment. All proceeds are donated to two charities: Anak-Tnk, which supports street children and families living in slums in Manila, and La Salle à Manger La Défense, a solidarity dining initiative for those experiencing hardship. Each performance thus transforms into a cultural event that actively contributes to social causes, staying true to the mission of the Tréteaux Lyriques for over fifty years.

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