Paris theater facing bankruptcy after left-wing managers invite migrants who refuse to leave

• The historic Gaîté Lyrique theater in Paris faces bankruptcy after 446 homeless African migrants occupied the building following a refugee conference.
• The occupation has led to violence, drug use, arson and sexual violence, transforming the theater into a squalid encampment.
• The theater has canceled all events, lost significant revenue and employees have withdrawn due to safety concerns, leaving the building without essential services.
• Neighboring businesses report major financial losses, with the migrants’ presence deterring customers and causing disruptions.
• The City of Paris has delayed evacuation, citing welfare concerns, while activists defend the occupation as part of an “anti-racist and anti-colonial struggle.”

The historic Gaîté Lyrique theater, a cultural landmark in the heart of Paris, has been brought to the brink of bankruptcy and forced to close its doors after hundreds of homeless African migrants occupied the building following a “Refugees Welcome in France” conference in December. The left-wing management, which initially invited the migrants, now faces a dire situation as the occupation has spiraled into violence, drug use and arson, leaving the theater’s future in jeopardy.

The crisis began on December 10, when the theater’s management, in a gesture of “solidarity”, offered free tickets to a conference aimed at addressing France’s refugee crisis. Approximately 200 young men, mostly from France’s former West African colonies, attended the event. However, when the conference ended, the migrants refused to leave, and their numbers have since swelled to 446.

The occupation has transformed the once-vibrant cultural hub into a squalid encampment. Makeshift beds now clutter the stage and auditorium, while drug use and dealing have become rampant. Sexual violence has also been reported, with management describing the situation as “explosive and undignified.”

“The situation in the theater is explosive, with untenable promiscuity, and the violence linked to this promiscuity is increasing in severity and frequency,” the theater’s management stated in a press release on February 26.

The theater has been forced to cancel all events, resulting in significant revenue losses. Employees, citing safety concerns, have exercised their right to withdraw from work, leaving the building without essential services such as fire safety, security, and maintenance.

The crisis has also taken a toll on neighboring businesses. Elia, the manager of a bistro next to the theater, reported €30,000 in lost revenue. “They’re ruining my business,” she said. “They hang around outside my terrace, smoking joints and fighting among themselves. Not only do we no longer get theatergoers because the theater is shut, but we don’t get passers-by either. They’re being frightened away by all these young men.”

Political stalemate

The City of Paris, which owns the building, has been criticized for its handling of the situation. A judge ordered the evacuation of the building by mid-March, but the Socialist-led council has refused to involve the police, citing concerns over the migrants’ welfare. Meanwhile, the migrants, supported by far-left activists, have turned the occupation into a rallying cry for their “anti-racist and anti-colonial struggle.”

The Collectif des Jeunes du Parc de Belleville, the activist group behind the occupation, has dismissed age verification tests for the migrants as “racist and expeditive.” Most of the migrants claim to be minors, but local officials insist they are adults who were previously sleeping on the streets.

A cautionary tale

The Gaîté Lyrique’s management, once celebrated for its progressive ideals, now faces the consequences of its own policies. By opening its doors to the migrants without a clear plan, the theater has become a symbol of the unintended consequences of unchecked idealism.

As the theater teeters on the edge of bankruptcy and the occupation shows no signs of ending, the Gaîté Lyrique serves as a reminder of the complexities of immigration policy and the dangers of prioritizing ideology over practicality.

For now, the theater remains closed, its future uncertain, and its once-proud legacy overshadowed by chaos and mismanagement.

Sources for this article include:

Expose-News.com

DailyMail.co.uk

Telegraph.co.uk