I imagined the concept during the winter of 2019. Back then, it was just a vague idea. I had scenes in my head — visions of performers in lingerie, an unconventional venue — but nothing precise. I only knew one thing: after directing several contemporary circus shows, I felt frustrated that I couldn’t explore eroticism more deeply, since those performances were open to all audiences.

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I needed to push further my vision of women as artists, to stage them, to celebrate their strength and sensuality. At that point, everything was mixed up in my mind — inspiration without structure. Then came the first lockdown. Like many others, I found myself alone at home with my smartphone, endlessly scrolling. Photos appeared: black-and-white shots, lingerie brands, elegant models posing on staircases or in castles.

I discovered the modern world of BDSM and its aesthetics, the art of shibari... All these images awakened memories of my twenties, when I used to read Capture Magazine, dedicated to fetish photography — with works by Christophe Mourthé, Blake Edouard, and others. (I still have all the issues at my parents’ house.)

And then — it clicked. I wanted to create a show unlike any other, featuring women in high heels and luxurious lingerie. I combined all my skills: found a castle in the Bayonne region, drew up plans, contacted the artists, a sound engineer, a lighting designer, security staff, a caterer. Everything was meticulously organized. Fifteen performers plus the production team. The storyline, though secondary, mattered — it told a tale of female strength and subtle revenge, not in a militant way but through beauty and imagination.

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The name came naturally: Rose Noir. A French base with an English tone. The word “Noir” referred to the idea of Dark Theatre. At that time, I had no idea that what I was creating would become immersive cabaret theatre. In truth, I had just invented it.

Winter 2022 — our premiere. Ticket sales only happened through Instagram, and we sold out a month ahead. 220 people — the limit set by the castle owner. On March 10, the show took place — a success. Some were disappointed that it wasn’t a libertine event; others were delighted for exactly the same reason. Each to their own — mine is the art of spectacle. The evening unfolded exactly as I had envisioned, without rehearsals, coordinated in real time through intercom, a technique I had learned from fashion shows.

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Four hours passed in an instant. A spark. I had done it — not profitable, but triumphant. After that came The Dinner, then Le Boudoir de Marie Sauvage, and about twenty editions across southern France — and now, abroad. Each show is unique: different cast, different setting, different scenes. I imagine them all — often as visual manifestations of personal fantasies.

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Over time, some artists became regulars — like Mira, The Queen of Darkness. Together, we create new scenes with new performers joining the troupe. Most are not professional artists when they begin; they try, we see, and sometimes raw talent emerges. Some of these women, once unknown, are now followed by thousands — stepping out of the shadows into the light. Rose Noir has given them a stage to express their desire and exhibitionism with elegance, in chic settings, before a sophisticated and respectful audience.

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There are very few men in my world — and that’s intentional. I created Rose Noir because I venerate women — their spirit, their bodies, their fantasies. The few men present, I call them Shadowmen — men of the shadows, graceful, discreet, serving the women’s performance. I now include more of them, on one condition: they must be virile without being brutish, courteous without being submissive.

I work in a completely personal, self-taught way. I don’t follow trends, I don’t imitate anyone. When I see a concept inspired by Rose Noir, I simply look away. There are more and more of them — but most don’t last long.

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Rose Noir keeps evolving. I’m thinking of creating more visible versions — a little less underground — because scouting new venues is time-consuming. But Rose Noir is no longer defined only by the spaces it inhabits. We now present fully composed, original visual tableaux.

We are borderline, but we never cross certain boundaries.
We are theatrical, because we tell stories.
We are immersive, performing among the audience, in unconventional places.

Come and see us. Rose Noir Théâtre is a one-of-a-kind experience to be lived.

Nothing compares to Rose Noir.