Two bands take the stage: The Band, channeling raw 1960s–70s rock, and Latin Lovers, offering swing and Latin-infused repertoire. The programme alternates driving electric grooves and warm, danceable rhythms, with musicians trading solos and close harmonies. The sound design favors immediacy and intimacy, letting textures and dynamics shape the evening. It creates a convivial, nocturnal atmosphere where nostalgia meets rhythmic exuberance and live interplay becomes the event’s emotional core.
UNDERCOVER is a tight trio of singer-guitarist, bassist and drummer, delivering a high-energy set of cross-generational covers. Their repertoire blends reggae, funk, pop, rock and chanson française, moving from Bob Marley and Marvin Gaye to AC/DC, The Beatles and MC Solaar. The performance alternates driving grooves and soulful breaks, inviting spontaneous interplay and a communal blues jam afterward. The evening emphasizes raw musicianship and the joy of live exchange.
Choreographed and performed by Andalusian artist María del Mar Suárez, known as La Chachi, this hybrid flamenco piece blends reverence and deconstruction of tradition with a punk expressivity. Two musicians and a singer form a driving, looping soundscape that slowly reveals La Chachi’s silhouette as she advances, her movements coiling and breaking like the music’s escalating cycles. Visceral and hypnotic, the work explores the effort to overcome the seemingly insurmountable, building tense intimacy and ritualized ascent.
Je ne suis pas Johnny is a theatrical exploration of identity, memory and the weight of cultural myth. Combining intimate staging, physical sensitivity and moments of dark humour, the piece unsettles familiar narratives and invites audiences to reconsider how personas are constructed and performed. Sparse lighting and a fluid rhythm shape an intense, close-up experience, where silence and gesture reveal hidden tensions and unexpected tenderness.
Based on sketches by Devos, Ribes, Sylvie Joly, Palmade and Martinez, this theatrical revue sketches the comic microcosm of apartment life. Short scenes expose domestic tensions — marital rows, overwhelmed parents, an unpredictable grandmother and holiday disasters — with sharp observational wit and precise farcical timing. The ensemble slips into vivid characters, combining spoken comedy and physical nuance to reveal tenderness beneath the chaos, offering a warm, incisive portrait of neighbours and family.
In French.
Self-taught singer-songwriter and beatmaker Danyl began publishing live tracks on Twitch. Of Franco‑Algerian origin, he blends raï, US rap and French chanson to create a personal sound. His collaborations include Zamdane, Tuerie, DJ Kore, Oxmo Puccino, Stony Stone and Rim’K. On his first album ZMIG (2026) he reclaims a pejorative term to probe social determinism and the double stigma of his origins. The music resists categorization while pushing cultural boundaries.
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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