Promethee returns for a final hometown concert, marking the comeback of original vocalist Josh for a farewell performance. Founded in 2008, the band has become a pillar of Swiss metal with powerful compositions and high-energy live shows. This last show brings friends and long-time fans together for an intense, cathartic evening of heavy riffs, driving rhythms and emotionally charged vocals. The focus is on the band’s legacy and the shared experience of an ending chapter.
Three improvisers and composers — Maël Godinat (piano), William Jacquemet (trombone) and Pierre‑François Massy (double bass) — present a program of original material and carefully chosen covers. Arrangements emphasize close harmonies, intimate interplay and attentive listening, letting sparse textures open into rich, resonant chords. The trio’s sound balances lyrical phrasing with rhythmic subtlety; lighting and silence shape moments of suspended time, inviting a contemplative, warm atmosphere that reimagines harmonic conversation in the moment.
Prima Facie, by Suzie Miller, stages a tense courtroom drama centred on Tessa, a brilliant defence lawyer whose life is upended after she becomes the victim of an assault. Directed by Elidan Arzoni and performed by Anna Budde, the production weaves urgent questions about justice, credibility and power. Danielle Milovic’s lighting and the French translation by Dominique Hollier and Séverine Magois shape a stark, intimate staging. Produced by Les Amis – Le Chariot for Scène Vagabonde Festival.
In French.
Fatoumata Diawara blends traditional Malian Wassoulou music with contemporary electronic and pop textures on her new album Massa. Her intense voice and hypnotic energy carry songs that explore origins, national history and personal memory, addressing themes of family, motherhood and resilience while advocating for women’s rights and peace. The single Djanne fuses ancestral rhythms with modern production, and Diawara’s performance invites a vibrant, danceable journey that celebrates identity and remembrance.
An introspective monologue for multiple voices, La Table d’Amour is a poetic theatrical immersion inspired by a Tinos island tradition. Performed by Manon Krüttli and Jeanne De Mont, the piece follows Manon Krüttli’s journey between autobiography, fiction and dreamlike reverie. It probes questions of living together, reconciliation and the role of conviviality as an artistic gesture, creating an intimate, sensory staging that favors lyricism and shared presence.
In French.
For his final production as a theatre director, Jean Liermier revisits Tennessee Williams’s autobiographical classic about memory, longing and family. Set in the 1930s American South, the staging gathers a company around Laura, here embodied by Aurélia Thierrée, with Cyprien Colombo, David Gobet and Clotilde Mollet completing the ensemble. Liermier’s direction emphasises fragile interiors and poetic movement, offering a liberating, weightless atmosphere that balances tenderness and uneasy nostalgia.
In French.
Directed by Françoise Courvoisier, this production of Anton Chekhov’s Oncle Vania — translated by Arthur Adamov — assembles a committed ensemble (Vincent Bonillo, Pierre Dubey, Bérangère Mastrangelo, Patricia Mollet-Mercier, Clarisse Morizot, Pierre Omer, Juliana Samarine, Edmond Vuilloud) to explore love, the passage of time and illusions lost. The staging, created with scenographer Gilbert Maire and painter André Kasper, uses Rinaldo Del Boca’s lighting, Pierre Omer’s music and Nicolas Le Roy’s sound to evoke both the comedy and the terrifying humanity of Chekhov.
In French.
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