Led by Rude Egard, this Gypsy swing programme revisits jazz standards with a spirited blend of playfulness and contemporary touches. The performance balances lilting rhythms and nimble phrasing, creating warm, convivial soundscapes where melody and improvisation converse. Intimate and lively, the music moves between jaunty rhythms and tender passages, inviting listeners into a world of swing’s joyous momentum and quiet nostalgia.
Faites l’apéro pas la guerre invites audiences into a compact, provocative performance that blends satire, music and physical theatre to examine conviviality and conflict in contemporary life. The staging favors intimate gestures, rhythmic pacing and inventive use of space to create moments that oscillate between humour and unease. The production foregrounds ensemble interplay and sensory detail, offering a thoughtful, often playful reflection on how social rituals mask deeper tensions.
In French.
This solo performance by Juan Pablo Cámara traces the contours of attention and encounter. Combining subtle gestures, spoken fragments and calibrated pauses, the piece unfolds as a durational portrait that navigates memory, presence and the politics of looking. The artist’s restrained physicality and keen listening create a charged atmosphere where small actions accumulate into emotional clarity. Presented within the ‘First impressions’ residency curated by Jade Meili Barget.
Performed and choreographed by Eugénie Rebetez, COMEBACK is a solo exploration of artistic, female and maternal identity. On stage she shifts through extravagant costumes and a blend of choreography, song and gesture, crafting scenic images that are both poetic and comic. The work moves between introspection and humour, intertwining contemporary dance and stand-up rhythms to question the artist’s status. Co-produced by Tanzhaus Zürich, Casino Théâtre de Rolle, Théâtre Boulimie and LE POCHE, it offers an intimate, unsettling and hilarious journey.
In French.
Kelly Rivière takes the audience on an emotive and delightful journey to Ireland with “An Irish Story,” as she seeks to uncover the mysterious disappearance of her grandfather, Peter O’Farrel. With vivacity and humor, she brings 25 characters to life, seamlessly switching between French and English, while delving into themes of exile and identity. The performance, marked by sincerity and energy, proves to be a technically captivating feat that captivates the audience.
In French & English.
Performed by six dancers and accompanied by a live musician, A l’aune invites a slow choreographic promenade through the re-vegetated spaces of the Aire. The work examines ecosystems, adaptability and interdependence via intimate group interactions and material, site-conscious movement. The staging cultivates close listening between bodies and sound, producing a tactile, contemplative atmosphere that reflects cycles of growth, decay and mutual care.
Chekhov’s Ivanov follows Nikolai Ivanov, a middling Russian landowner crushed by debt and by the slow decline of his wife, Anna Petrovna, who is dying of tuberculosis. Across four acts, his inertia curdles into melancholy and self-destruction, swinging between biting comedy and harrowing despair. Written in a ten-day burst in 1887, when Chekhov was only twenty-seven, the play crackles with youthful urgency as tragedy and humor intertwine.
Director–actor Jean-François Sivadier infuses this new staging with his distinctive theatrical energy, pairing veteran performers with fresh faces to reignite the play’s original heat. Echoing Gustav Mahler’s dictum that “tradition is not the worship of ashes, but the preservation of fire,” the production seeks to keep Chekhov’s raw, combustible spirit blazing on today’s stage.
In French. Ages 16 and up.Â
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