15 – 16 December

The Genesis

Choreographed by Patrick King and Johan King Silverhult, The Genesis gathers fifteen acrobats from thirteen countries in a visceral, apparatus-free circus that blends physical rigor and anthropological insight. The company constructs towering lifts, pyramids and human columns while powerful female bases support daring male flyers. Explosive jumps, flights and catches create breath-taking moments that probe community, solidarity and the dynamics of trust and risk. The work is a bold, emotionally charged celebration of collective strength and mutual dependence.

Rue Genève 154,,
Switzerland
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Photo Credit: DR

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Saturday 19 September, 21:00

Chelan blends neo‑soul with pop, hip‑hop and jazz to create genre‑defying music that favours rich textures and rhythmic depth. Since the debut project Uncentered (2018) and through the latest album Run to the Sun (2024), Chelan explores intimate songwriting, warm vocals and inventive arrangements. The performance promises an immersive, soulful atmosphere where subtle grooves and cinematic harmonies meet contemporary production, inviting attentive listening and emotional resonance.

5 November – 6 May

This improvisational cabaret gathers a rotating ensemble who transform prompts into exuberant, instant theatrics. Performers spin spontaneous stories, invent vivid characters and push collective comedy toward grand, over-the-top moments. The staging favors quick costume shifts, dynamic lighting and a live-paced soundscape that heightens each surprise. Featuring Nadim Ahmed, Blaise Bersinger, Nina Cachelin, Odile Cantero, Deborah Chirenti, Thomas Demaurex, Alain Ghiringhelli, Julien Henchoz, Malik Kaufmann, Pauline Maitre, Adrien Laplana, Eric Lecoultre and Quentin Lo Russo, the show celebrates the art of improvisation and shared laughter.

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A diptych of two linked plays, this evening mixes sharp family comedy with tragi‑comic romance. In the first piece, a stand‑up’s return to a tense mother’s celebration unsettles an apparently ordinary gathering, letting repressed resentments surface in a cruel yet liberating crescendo. The second instalment follows the same characters five years later in a frantic race to prevent a wedding, blending farce and melancholic reflection. The staging favours intimate ensemble interactions and wry observational humour, in the vein of Agnès Jaoui and Jean‑Pierre Bacri.

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