Dreams Come True’s Dear Luigi, I Hate You stages a hybrid of fiction and documentary around a contemporary criminal case. Two actors embody fictional avatars of the victim’s widow and the accused and engage in a restorative-justice process observed step by step by Adèle Yon. The piece examines responsibility, trauma and the possibility of dialogue across deep social fractures, combining intimate performances and documentary fragments to probe ethics, memory and collective reckoning.
In French.
Paul de Saint Sernin’s stand-up programme, written and performed by the artist, blends sharp comedic timing with candid memories of adolescence, humiliations and personal fears. Directed by Grégoire Dey, the staging relies on intimate storytelling, subtle physicality and pared-down mise-en-scène to turn vulnerability into laughter. The show plays with rhythm and self-questioning, offering a warm yet probing portrait of growing up in a voice both confessional and wry.
In French.
Presented in partnership with the Institut National Genevois, this closing concert brings together prizewinners of the Geneva Competition: violist Brian Isaacs and the Quatuor Elmire. The programme centres on Beethoven’s Quintet alongside two contrasting works, offering intimate chamber music textures. The performers favour clarity of line and heated interplay, shaping a narrative of tenderness and tension. Lighting and staging are understated, focusing attention on timbral richness and communicative ensemble playing to create a luminous, emotionally precise evening.
Four performers embody testimonies from different generations in Sept, situated at the crossroads of dance and film. Between intimate confidences and tender tableaux, the piece examines how age shapes us and stages a delicate exploration of what growing older means, revealing a shared humanity. The staging shifts between projected images and live bodies, weaving visual and physical layers to create an experience that is both poetic and unsettling.
Choreographer Aurélien Dougé investigates the relation between body and material in Sans titre (Barre d’acier). Performed solo on a square platform, the artist rotates continuously while holding a four‑metre steel bar that acts as both constraint and bodily extension. The piece foregrounds shifted weight, altered lines of tension and extremely slow gestural transformations against a persistent rotational rhythm. Rudy Decelière’s sound design suspends time, and a video triptych created with WIPART extends the work’s sculptural presence across contexts.
With Olivier Grimm at the piano, this participatory gathering invites audiences to sing for pleasure from a vast choice of 270 songs. Lyrics are projected so everyone can join in together, microphone-free, carried by the warmth of live accompaniment. The experience is simple, convivial, and immediate, turning familiar melodies into a shared collective moment shaped by voice, memory, and the pleasure of singing as one.
Choreographed and performed by Olga de Soto, Paper Lane is a durational solo that stages resistance to digital acceleration and the saturation of high‑tech noise. Drawing on Hartmut Rosa’s reflections on alienation and acceleration and on visual artist Sophie Whettnall’s practices, the piece unfolds as a single, dilated gesture: continuously tearing a long surface. The slow, relentless action sculpts space and time, becoming ritual, endurance and meditation, inviting concentrated attention through pared‑down physicality.
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