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.

Directed by Marie-José Malis, Retour au pays revisits Hugo von Hofmannsthal’s letters through a spare, lucid staging. Performers Alexandra Tiedemann and Juan Crespillo inhabit the returning merchant’s disorientation, while Aurélia Ansermet provides live music and sound. Bernard Héritier’s scenography and Jessy Ducatillon’s lighting shape moments of visual surprise, most poignantly a Van Gogh encounter that restores belief in the world. The piece refuses facile answers, offering theatrical lucidity and an austere emotional clarity.

In French.

Directed by Marie Beer, Notre regretté Alfred is a mordant theatre piece that laughs at death while probing what remains of us after we are gone. The play brings together performers from several generations — Marie Beer, Maurice Aufair, Marie Druc, Christian Gregori, Gabriel Izquierdo, Frank Semelet and Albert Pià Cornella on guitar — with Rinaldo Del Boca’s lighting shaping intimate and incisive scenes. Coproduced by Le Canard qui danse, the work blends dark humour and tenderness.

In French.

Adapted from Claire Bretécher’s eponymous comics and directed by José Lillo, Les frustrés stages a sequence of incisive scenes exploring recurring social relationships: friends, men among themselves, couples and evening gatherings. The quartet of performers — Élodie Bordas, Mélanie Foulon, Felipe Castro and David Gobet — navigate a compact, everyday dramaturgy where sharp comic critique reveals intimate and ideological contradictions. Rinaldo Del Boca’s lighting sculpts the domestic textures of each episode, balancing wit and critical observation.

In French.