In 1962 Signoret stepped off screen and behind the footlights as a translator and star, mounting a French production of Lillian Hellman's The Little Foxes at the Théâtre Sarah‑Bernhardt, in which she also played the central role of Regina. The move seemed a natural extension of her theatrical ambitions, but it provoked a rare transatlantic artistic rupture: Hellman herself was visibly displeased with the production even though the French translation had been vetted and approved by scholars Hellman selected. The public disagreement exposed the tensions that can arise when a celebrated performer assumes control of an American playwright’s language and staging — a clash of authorial authority, national theatrical taste, and star ego. For Signoret the episode was a reminder that prestige could invite scrutiny as well as applause, and it left a lingering, documented coldness between the French star and the cantankerous American dramatist.
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