La Estupidez, an original work, is the fourth part of a rereading of the seven deadly sins by the brilliant Argentinean author Rafael Spregelburd.  This author is strongly featured this season at the Théâtre de la Place, which is also showing the sixth part of the seven-part work, La Paranoïa (Paranoia).

Science fiction is rare in the theatre: too rare. Especially when it is handled with the talent and verve of Argentine writer Rafael Spregelburd.

Gus, Harry and Archie meet at the funeral of one of their childhood playmates and, shattered by this loss, decide to go on a trip and rediscover their youth.

After his wonderful production of “Cerisaie” in 2002, Michel Dezoteux tackles Chekhov once again with “Les Trois Soeurs”. Olga, Irina, and Macha are bored, shut up in their big country house, dreaming of returning to Moscow one day and finding their only distraction in the soldiers garrisoned nearby.

In a hospital waiting room six people lose or find a loved one; they laugh, love each other, tear each other apart. In seven short pieces run together as one act, Russian author Ivan Viripaev uses genres as multiple as the identities of his characters.

In 1999, J.M. Coetzee, the South African winner of the Nobel Prize for Literature, added another brilliant novel, Disgrace, to an already brilliant body of work.

Do enough people know that Leo Ferré composed an opera? No, and doubtless because for a long time the author himself refused to let it be staged before warning prospective directors that: They couldn't change anything in it, either in spirit or in shape.

In 1816, by a strange diplomatic sleight of hand involving a coveted zinc mine, the micro-State of Moresnet was founded at the crossroads of the Belgian, Dutch and German borders.

It is always a dangerous exercise to give an ultra-modern twist to a great classic.  But Ivo van Hove is a wonderfully inspired director and his De Vrek is a successful and elegant reworking of L'Avare by Molière.

After “Smatch[1],  Si vous désespérez un singe, vous ferez exister un singe désespéré” (Smatch[1], If you drive a monkey to despair, you bring a despairing monkey into the world),   Dominique Roodthooft is back with the second part of his trilogy.

“The Story of a Quadroon”, is all in the title. Philippe Laurent is the quadroon of the title; his father is white and his mother is of mixed race. The story is that of his life, one of incessant uprooting and upheaval, both emotional and geographical.

Worn out with money worries, Maurice Koch wants to die. So with his secretary Monique he goes to the Quai Ouest to throw himself into the water.

If you loved the wonderful “Si demain vous déplait”, don't miss “Ivanov Re/Mix”. With his trademark bold energy Armel Roussel has twisted and re-arranged Chekhov's “Ivanov” to show a whole kaleidoscope of emotions and link them to modern preoccupations.

Eight men.  Eight friends from the same rural background, which they have all had to leave behind for the city and a more modern world.  Each year, they get back together to rehearse for their village’s procession, in which their role is to carry the statue of the Virgin Mary, which they nickname “the unbreakable”.

Director of the Toneelhuis in Antwerp, Guy Cassiers enjoys tackling masterpieces.  After a remarkable trilogy devoted to Proust and Wagner’s Ring, this great director launched the trilogy The Man without Qualities in 2010.

It's impressive how the theatre of Feydeau resists the passing of time. This story of Fernand, a wealthy man, could seem so far removed from our lives today.

Krzytof Warlikowski has established a special relationship with Liège.  Following on from (A)pollonia and Fin, the great Polish director returns with his African tales adapted from Shakespeare, as part of the European cultural cooperation project Prospero.

UFO warning! With Robo a Gogo, the multi-media artist, choreographer and director Wayne Traub, now rechristened Petrus, whose work is often inspired by religion and mysticism,  tackles the last book of the Bible, the Apocalypse.

A literary giant, Pinocchio has inspired numerous artistes. This is because, far from being the sadly watered-down Walt Disney version of the tale, it is a timeless fable which speaks to us all across time and through all cultures.

Once again, our Euregional season opens with the International Festival of Street Theatre in Eupen.  On the banks of the Vesdre, in parks and streets, twenty or so stages will spring up to house productions from all over Europe.