PARIS — You might call it a French welcome. On the day the venerable Théâtre du Châtelet was scheduled to reopen after a two-and-a-half-year renovation, Paris’s public transportation system was paralyzed by a strike. The much-hyped street procession to celebrate the venue’s makeover attracted only a thin crowd; inside the auditorium for the first stage performance, there were even some empty seats.

The Châtelet’s new artistic director, Ruth Mackenzie, looked unfazed when she came onstage at the end of the evening. If her goal was to entertain the attendees, she had every reason to be satisfied: “Parade,” the opening show, which encompassed outdoor and indoor performances, was big, inclusive and crowd-pleasing. On the other hand, those looking for a more fully articulated statement of artistic intent for a great Paris theater were probably disappointed.

What the new team delivered was, well, mainly a cheerful parade.

Perhaps it was unfair to expect more. Who doesn’t like oversize marionettes? Who doesn’t feel a thrill at gravity-defying acrobatics? “Parade,” directed by Martin Duncan, kept the feel-good performances coming over the course of the evening, which was divided into three parts: The outdoor festivities, led by the Marionetas Gigantes puppet company from Mozambique, were followed by a series of free installations around the Châtelet’s public spaces. Then came the main-stage performance, open only to ticket holders.