Production d’Avril returns to documentary theatre with Rien que de l’eau?, a piece examining the impacts of climate change and how communities rebuild after flooding. Using personal testimonies, layered soundscapes and spare scenic devices, the work probes collective memory, practices of repair and the fragility of places. The staging balances sobriety and poetic tension, delivering a reflective, sensory encounter with the elemental force of water.
In French.
Directed by Jérôme Bel, this collectively created theatre piece is written and performed by children aged 8 to 14. The work unfolds through improvisation, playful imagination and a celebration of creative freedom, inviting an immediate, joyful stage presence. The ensemble’s spontaneous scenes and open-ended dramaturgy emphasize collaboration and risk, offering spectators an intimate encounter with youthful authorship and theatrical experiment.
In French.
Retsina Cola channels the raw intimacy of rebetiko, a Greek urban music born from Asia Minor exile. The young quartet, composed of Alexios Koutsourelis (bouzouki and vocals), Giorgos Goudousakis (guitar and vocals), Melina Vasiliki Paraskevopoulou (percussion and vocals) and Ioannis Christakopoulos (accordion and vocals), blends plaintive melodies, driving rhythms and close vocal interplay. Their repertoire navigates longing, thwarted love and social struggle, stirred by oriental spices and smoky textures that evoke tavern nights and collective memory.
Directed by Rémi Dufay, D’amour et d’eau fraîche is a stage adventure that celebrates movement, friendship and the unforeseen. Rémi Dufay and his ensemble probe margins and fragile frames, staging situations that slip away in a deliberately unsteady ceremony. The production blurs reality and magic, carrying the audience through a joyful, rocambolic wandering. A lively, generous performance that refuses stillness and favours continual transformation.
In French.
A darkly comic solo play about obsession and domestic chaos. When Michel finds a rare record he has long sought, he prepares a perfect hour to listen — but family, neighbours and a drip that will wreck the disc steadily intrude. The piece skewers selfishness with sharp humour and precise staging, combining intimate realism and heightened farce to probe human smallness and the desperate desire for solitude.
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.
Coraline Parmentier presents Kitab al Kanuz, a film-concert blending piano, electronic timbres and Middle Eastern soundscapes. The pianist-composer performs on a Yamaha C7 and a Turkish-style keyboard (Yamaha PSR-5000), exploring quarter-tones and textures drawn from her albums Kitab al Kanuz and Aswat Bahr al Mayyit. Collaborator Bager Sen contributes mantra compositions and aksak rhythms, rooted in ancestral meters. The piece balances cinematic imagery and intimate ritual, inviting an immersive, pulse-driven listening experience.
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