Gisèle Vienne stages a reconstruction of the largest annual gathering of ventriloquists in Kentucky. A polyphony of 30 voices — both the dummies and their ventriloquists — draws you into a tangle of complex psychologies.

Guided by headphones and holding a flashlight to illuminate the darkness of a big, empty and dormant theatre, you're cast as an 'extra' in what appears to be a dream-like rehearsal of powerlessness.

Harold Pinters’ Betrayal (1978) ingeneously portrays a love triangle on stage. Passion and mediocrity, lies and desires, deception and self-deception wage battle with one another. The story unfolds in reverse chronological order, so you know ‘how it ends’. Lawrence Malstaf provides the impressive scenography with nine rotating walls through which you move freely on stage.

In Beckett Boulevard , Natali Broods, Willem de Wolf and Peter van den Eede present a play of which we know the start but not where it ends. A Faustian descent to the places where power resides. Somewhere in the middle, so it seems. A ‘badly-made play’.

This – unexpectedly current – rerun from 2008 shows Paris from the perspective of the artist-immigrant. During the 20th century countless people took refuge in the French capital, including many artists and intellectuals. Just as likely, they ended up working as taxi drivers or street cleaners. Christian Bakalov’s depictions of their social exclusion and humiliation urge you to question your own feelings of empathy and solidarity.