The Western Journal

Libs Invite African ‘Refugees’ to Their Theater: New Occupants Turn It Into Sex Den, Refuse to Leave, Bankrupt the Company

The ‍Gaite Lyrique theater in Paris has recently become a controversial site as it ‌has been occupied by nearly 450 African migrants, ⁢most of whom are claiming to be underage ​and seeking shelter. This situation arose after​ theater management invited⁣ migrants to a free conference⁢ in December,⁢ but the⁤ occupants have since refused ⁣to leave.‍ Reports indicate that the​ migrants ​have been involved in ⁤drug use and violence, severely‌ impacting the ​venue’s safety and ‌operations. Despite the theater staff’s attempts to manage ​the⁣ situation, ‌including voluntary security efforts and calls for assistance, local authorities have‍ not intervened effectively. The management, now facing ⁢potential ⁢bankruptcy⁤ due to this extended occupation and ⁤lack of performance, has ‍officially‍ abandoned the premises. This ‍situation highlights ⁤broader issues related to immigration and its​ impacts on ⁣public spaces and services in Paris and other Western countries.


After the managers of a Paris theater welcomed hundreds of African migrants into the building, the place has turned into a den of sex-related violence and drugs.

The Gaite Lyrique, one of the most iconic art venues in France, saw 200 people, largely young African men, come into the theater in December after management handed out tickets to a free conference called “Refugees Welcome in France,” according the U.K.’s Daily Mail.

But they have since refused to leave.

There are currently almost 450 people living in the Gaite Lyrique — most of whom claim they are under the age of 18 and therefore deserve shelter.

However, law enforcement officials said, many of those residing in the building are adults, known to authorities, who had been previously sleeping on the street.

Despite this act of mercy, they have not been good stewards of the venue.

The migrants have reportedly been dealing and using drugs, as well as participating in “untenable promiscuity” contributing to increasing levels of violence.

The fire alarm has also been repeatedly set off inside the building, which is overcrowded, according to Arts Professional in the U.K.

At least one such fire on Feb. 21 was real and required the intervention of Paris firefighters.

“For 79 days, staff members have been present at the site 24/7 on a voluntary basis, despite not being qualified or employed to do so. For 79 days, an expanded security team has worked with professionalism 24/7 to ensure the safety and security of the people in the occupied areas. For 79 days, La Gaîté Lyrique’s pleas for help with this sudden occupation and unsuitable conditions have fallen on deaf ears,” the theater said in a statement on Feb. 26.

The city of Paris owns the building, but because it’s dominated by far-left Socialists and Greens, there hasn’t exactly been much success with kicking out the migrants over the past three months.

President Emmanuel Macron leads a more centrist national government, and he has reportedly not been interested in wading into the mire of the situation.

And the situation continued to worsen as politicians did nothing.

The management officially abandoned the building without needed intervention from the authorities on Friday, according to Sortira Paris.

“La Gaîté Lyrique SAS and its teams will be forced to leave the building and suspend the performance of contracts with service providers in charge of fire safety, security, hygiene and cleanliness, maintenance and waste collection,” theater management said in a statement.

Due to three months occupation and lack of performance, the theater management company is also facing bankruptcy, the Daily Mail reported.

This situation is a microcosm of the mass immigration crisis taking over not only France, but virtually every other Western nation.

Even as the Parisians watch in real time as third-world hordes trash once-beautiful cultural institutions, they are working hard to insist that they have been nothing but welcoming.

But that is exactly the problem.

They should not have been welcoming to foreigners who had no interest in giving, but only in taking, and as a result, there is now little left to give.

The West opened the doors to foreigners because the West truly was generous and compassionate, but bad actors took advantage of those otherwise admirable traits.

Now we must realize that our last act of generosity and compassion must be directed toward our own nations and peoples — and probably involves kicking the bad actors back onto the streets.




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