35,000 spectators and 85% occupancy… Between public loyalty and social openness, the theater confirms its driving role in local artistic life.
What assessment do you draw from this season?
It’s a very beautiful season. With nearly 35,000 spectators, we recorded one of the three best attendances in the history of theater, probably even the second best. The occupancy rate is around 85%, which is remarkable for a town of 20,000 inhabitants.
But beyond the numbers, what particularly pleases us is the diversity of the audience. Between the Marion Mezadorian show and the last meeting of the season, The Red Poyowe noted a renewal of around 75% of the public in the room. This shows that the programming appeals well beyond the circle of regulars.
How do you explain this enthusiasm?
I believe it is based on two elements. First, a trust built over the years in our programming. Then, a real attachment from the public to the place and to the project that we are carrying out.
We could not achieve such results through headliners alone. Many of the artists we welcome are recognized in their discipline without necessarily being mainstream names. The public agrees to be surprised and discover new proposals.
With 800 subscribers, 47 shows and 79 performances, the approved stage confirms its vitality…
Yes, and it’s a great satisfaction. We have the feeling that the projects we carry out find their audience. In a sometimes uncertain context, we continue to defend a renewed and demanding artistic offering. This is the very heart of our project, and this season confirms that this approach works.
The economic context is however complicated for many cultural structures. How is theater going through this period?
Like many cultural establishments, we are dependent on both public subsidies and ticket revenue. Fortunately, the City and the Department are maintaining their support in 2026 and are even making a special effort for this anniversary year.
On the other hand, the situation is more complex on the side of the Region, the State or even private sponsorship, which tends to become rarer. The balance therefore remains fragile.
What are the main difficulties?
A cultural season is prepared almost a year and a half in advance, even though certain financing decisions only take place several months after the start of the year. We must therefore exercise caution while remaining attractive and innovative. It’s a delicate exercise, but public loyalty is a valuable force.
Pablo Mira, Marion Rampal, Ariane Ascaride
You are getting ready to celebrate the theater’s 20th anniversary. How did you imagine this anniversary season?
The idea was to highlight everything we do best. Rather than concentrating the festivities on a single event, we chose to deploy them throughout the season.
We therefore wanted to offer a large poster in each of the disciplines. The public will be able to discover America of the Grand Avignon Opera, NewsYély of Circus Baobab, the singer Marion Rampal, rewarded at the Victoires du Jazz 2026, or even Tigran Mekhitarian with his contemporary rereading of Imaginary patient. We will also welcome Ariane Ascaride and comedian Pablo Mira.
Cultural action also occupies an important place in your project. Why is it essential?
Because a theater should not just be a place for artistic diffusion. It must also be a place of meeting, sharing and emancipation.
Thanks to the device Performing Arts at collegenearly 950 middle school students as well as several hundred primary school students participated in our actions this year. School sessions showed a record occupancy rate of 93%.
We are also developing initiatives aimed at families, people with disabilities and many people who do not spontaneously frequent cultural places.
How do you promote this openness?
We work on several levers: an accessible pricing policy, workshops, meetings with artists, but also friendly moments like shared meals before certain shows.
Our ambition is simple: that everyone can feel legitimate here. Every audience should feel at home.
Deep down, what is the soul of the Maison du Peuple?
It is above all a place to live. Of course, we come there to see a show, but sometimes also to chat, meet people or simply share a friendly moment. It happens that some people push the door just to have a drink. And ultimately, this is also what gives the place its identity.
Art for all, art by all
At the heart of the project, artistic education and cultural mediation transform the theater into a living, accessible and unifying space. “With Performing Arts at the college, 950 middle school students and several hundred elementary school students were affected, for a record occupancy rate of 93% during school sessions”confirms Maïlys Bessière, cultural actions and mediation manager. A dynamic that extends to inclusive audiences: families, people with disabilities… The objective? Create social connections and break down barriers. Workshops, meetings and even philosophical conferences – usually less attended – attract an ever-wider audience. “Every audience should feel at home.”recalls the team. To achieve this, a supportive pricing policy and friendly events (shared meals before shows) reinforce the spirit of openness. “Sometimes, people just come for a drink. That’s also the soul of the place.”
