Blabla Drive 1 is a sharp, fast-paced road comedy staged as a claustrophobic trip in a 2 CV. The play follows Marie-Thérèse, a stern former nun, Charlotte Kervanec, a headstrong Breton, and Barbara Pink, an ex–reality-TV star, whose personalities collide as secrets, mishaps and a pursuing police force escalate tension and dark humour. The production leans on tight ensemble acting, episodic staging and a kinetic, cinematic rhythm.
In French.
Le Truc sur le feu is a playful, offbeat fable that examines how the domestication of fire shaped human life. Written by Romane Nicolas, the piece stages two Paleolithic clans who wonder, clash and ignite as puppets by the Kokoschka tradition bring grotesque situations to life. With incisive humour and sharp theatricality, the show confronts ideas of progress, individuality versus community, animality and civilisation, offering a vividly staged reflection on the choices that set societies alight.
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.
Choreographed by Valeska Romero Curiqueo, Pewma (Mapudungun for “dream”) weaves dance, performance, live sound and poetry to trace transmissions between bodies. The piece confronts peripheral, wounded and violently marked identities through ritualized gestures and sensual collisions, invoking Venus as a figure of omen, destruction and rebirth. Live violin, synthesizers and vocals shape a tense, luminous soundscape as bodies dissolve and reconstitute, staging desire, friction and collective memory.
Directed by Nathalie Cuenet and written by Valérie Poirier, Dire adieu is performed by Compagnie Volodia. The piece stages fragmented conversations between a daughter and her mother, probing a quest for recognition and the fragile possibility of reconciliation. Its form recalls the codes of Greek tragedy, using heightened language and concentrated staging to explore memory, silence and unresolved grief. The ensemble creates a tense, intimate atmosphere that makes emotional rupture palpable.
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.
Scène Vagabonde’s seventh edition brings a compact program of contemporary theatre and music, presenting three contrasting stage works — “Par le bout du nez”, “Quadrille” and “Prima facie” — alongside a concert by Orchestre Tout Puissant Marcel Duchamp as part of La Bâtie-Festival de Genève. Across intimate stagings the festival favors inventive direction, close ensemble interplay and a balance of wit and intensity, offering encounters that privilege physical presence, tonal variety and rigorous dramaturgy.
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