Fez — What begins as a civilized dinner among friends quickly becomes a test of prejudice, religion, relationships, and self-image in Amanda Sthers’ “Le Rôti.”
The French comedy arrives at Casablanca’s Studio des Arts Vivants on October 15 at 8:30 p.m. as part of the 15th edition of “Les Théâtrales” (The Theatre Series), presented by Top Event Production.
Directed by Benjamin Elharrar, the production stars Samy Berry, Vanessa Fery, Valentin Giard, and Audrey David.
At the center of the story is a dinner that goes wrong because of something apparently simple.
One roast changes the evening
Jérôme and Mélanie, a Parisian couple, invite two friends over for dinner.
Their guests are Julie, an outgoing single woman, and Mehdi, a discreet colleague. Everything appears ordinary until the main course arrives.
Mehdi refuses to eat the pork roast for religious reasons.
From there, politeness begins to collapse.
One remark leads to another. Awkward attempts at explanation expose assumptions, personal contradictions, and things the characters might have preferred to leave unsaid. Religion, relationships, friendship, tolerance, and social conscience all enter the conversation.
Sthers uses the dinner table as a confined stage where people are gradually confronted with the distance between how they see themselves and what they reveal under pressure.
The comedy comes from that gap.
The characters want to remain reasonable, open-minded, and composed, but the more they try to repair the evening, the more complicated it becomes.
“Le Rôti” has been running at Paris’ Comédie Saint-Martin since December 2025, where the production is scheduled through May 2027.
Comedy with uncomfortable questions
Sthers has built much of the play around subjects people often approach carefully in public conversation.
The pork roast becomes less important than the reactions it provokes.
Through fast dialogue, misunderstandings, and increasingly direct exchanges, the play asks how quickly ideas about tolerance can become complicated when beliefs and identities move from the abstract into someone’s dining room.
The Casablanca poster describes the production as “une comédie saignante,” a play on words that can be read as both a “bloody” and sharply biting comedy.
That tone runs through the premise. The situation is deliberately ordinary, but the conversation keeps exposing deeper fault lines.
The Casablanca performance lasts around 75 minutes, with tickets starting at MAD 200. The October 15 date is part of a wider “Les Théâtrales” program that regularly brings French-language stage productions to Moroccan audiences.
At its core, “Le Rôti” is less interested in deciding which dinner guest is right than in watching what happens when everyone’s certainty starts to crack.
A meal that should have lasted an evening instead becomes a mirror, turning four friends and one roast into a comedy about the things people believe, the things they say, and the uncomfortable distance between the two.
