Led by Kate Stables, This Is the Kit is a cornerstone of contemporary British indie folk. Across two decades she has crafted a distinct sound blending banjo, warm acoustic textures and poetic songwriting, collaborating with figures such as John Parish and Gruff Rhys. On stage the project balances intimate warmth and magnetic presence, supported here by Cori Nora, whose raw, immediate music and voice weave a tense, focused atmosphere drawn from live-group recordings.
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.
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.
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.
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.
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.
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.
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