Le Grand Soir follows four unemployed friends who decide to stage a male striptease show. The piece blends broad comedy with an edgy, sensual tone, exploring friendship, body image, masculinity and the absurdities of social reinvention. Scenes alternate between slapstick and tender moments, using physical performance and sharp comic timing to reveal vulnerability beneath bravado. The staging favours playful choreography, bold humour and a lively ensemble energy.
In French.
FURTHER AFIELD
Directed by Jean‑François Sivadier, this blistering staging of Thomas Bernhard’s Maître dissects a privileged couple’s corrosive vanity and the ideological masks that sustain them. The production balances bitter comedy and dark drama, driven by a terse, language-centred aesthetic and an intense ensemble: Nicolas Bouchaud, Norah Krief, Frédéric Noaille, Juliette Bialek and Valérie de Champchesnel. The staging foregrounds verbal rhythm and theatrical momentum to unsettle and provoke reflection.
In French.
Chronicle of a fleeting liaison, this intimate theatrical piece examines the fragile architecture of desire and memory. Through concentrated scenes, the company maps the emotional aftershocks of a brief relationship, shifting between candid dialogue and charged silences. Lighting and sparse staging heighten moments of intimacy, while an attentive ensemble navigates tonal shifts from tenderness to unease. The production favors close observation and emotional clarity, inviting reflection on attachment and the traces left behind.
In French.
Four master impressionists reunite for a comic revue exploring Francophone identities and stereotypes. Yann Lambiel, Steeve Diamond, Fabian Le Castel and Laurent Chandemerle switch between sketches and songs, delivering rapid-fire character voices and musical parodies. The new show condenses more than a decade of collaboration into ninety minutes of sharp observation, playful rivalry and vocal virtuosity, using some 400 impressions to probe what unites these artists across Belgium, Switzerland, France and Québec.
In French.
Does having a Swiss Federal Railways (SBB/CFF) first-class travel card mean you’ve made it in life? What were the people smoking who designed the Isle of Man flag? Have you ever tried Didier’s tiramisu? What do you call those triangular dividers on supermarket checkout conveyor belts? Should we compost our boogers? Are you manly even if you can’t lift a heavy suitcase? Who actually likes fireworks? Can you name your child Ragusa? All these questions (except two) are addressed in tchoutchou.mp3, Blaise Bersinger’s new, not-so-improvised one-man show. Oscillating between stand-up, concert, and a stroke, the Lausanne-based comedian offers you a rather silly and reassuring (train?) journey for your digestive system. As Douglas-Wolfgang Bersinger, Blaise’s fictional uncle, said two years after his brain removal: “aaha è gah”
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.
Nos voisins artificiels stages a tense, intimate theatrical exploration of human relationships in the age of technology. A focused ensemble navigates shifting boundaries between empathy and estrangement through precise physicality, fragmented dialogue and luminous stagecraft. The piece blends dark humour with moments of quiet vulnerability, relying on carefully designed lighting and minimalist sets to heighten emotional textures. Audience members are invited to witness ambiguous intimacy and the uncanny rhythms of contemporary coexistence.
In French.
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