Amants à mi-temps explores the rhythms of contemporary relationships through intimate theatrical language. A compact cast shifts perspectives with precise staging, subtle movement and a keen sense of timing. The piece balances tenderness and irony, employing spare scenic touches and atmospheric lighting to expose the quiet negotiations and small compromises of love. The result is both poignant and wry, rendered with close attention to rhythm and tone.
In French.
Amandine Casadamont and Madeleine Leclair present a live sound creation using vinyl records drawn from their distinct yet resonant collections. The performance weaves musical traditions of the Tout-monde with experimental, concrete and ambient practices, exploring texture, repetition and montage. Intimate and attentive, the set focuses on listening as a shared sculpted experience, moving between ritual echoes and electronic abstraction through delicate turntable gestures and live manipulation.
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.
Two short plays by Anton Chekhov staged by Tibor Ockenfels and Flavie Tapparel, presented as compact dramatic machines where romantic comedy masks escalating confrontations between desire, affection and material interest. Performances rely on precise physical timing, terse exchanges and a lean, playful design to reveal the simmering violence behind courtship rituals. The three actors — Estelle Bridet, Matteo Prandi and Raphaël Vachoux — inhabit heightened character types that shift between farce and darker comic truth, creating a sharply observed, kinetic evening.
In French.
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.
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.
Noir & Gerber blend warm, intimate soul and blues with original songs in French and English. Vocalists Sophie Noir (voice, bass, piano) and Simon Gerber (voice, guitar, bass) trade melodies and harmonies over driving grooves from drummer Claude Kamber (or Alberto Malo), creating close interplay between voice and instrument. Their repertoire moves from smoky soul to rhythm’n’blues, combining delicate arrangements, raw emotion and playful improvisation that highlight songwriting and spirited live dynamics.
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