Unveiling of the work 𝘕𝘦́𝘰𝘱𝘩𝘺𝘵𝘦𝘴, which evolves throughout the exhibition. Invasive plants, a recurring motif in Jessica’s artistic research, form a theme that unfolds throughout the exhibition. For the artist, they embody the human perspective on what is considered good or bad in nature and, above all, reveal an entire aspect of the history of capitalist globalization.
Directed by Oscar Gómez Mata and Bastien Semenzato, this staging brings together 16 young performers from La Manufacture’s promotion O to tackle Hamlet in its entirety. Combining tragic force with mordant, absurd humour, the piece explores how the past splashes into the present and how institutions unravel. Using the jeu bouffon — masks, exaggeration and the subversion of power — the ensemble shifts between farce, violent outbursts and intimate doubt as the prince teeters between thought and action.
In French.
Caustic Comedy Night gathers four stand-up comedians from Switzerland, France and Belgium in a tight, high-energy evening of observational and satirical humour. The show alternates rising talents and seasoned performers, combining sharp social commentary, playful anecdotes and improvised exchanges. Minimal staging keeps the focus on timing and delivery, creating an intimate atmosphere where rhythm and punchlines drive the experience. The programme favours quick, varied sets that sustain momentum and surprise.
In French.
After 13 years, the duo The Dreams — Armelle and Nafi — return to the stage with a brief reformation revisiting songs from Heimat, Noir Boy George, Crack und Ultra Eczema, Badaboum, Scorpion Violente and Le Chômage. Their sound blends cold‑wave textures with tropical grooves and reggae undertones, evoking connections to Suicide, Slits, Sonic Youth, Bob Marley and The Police. Their sole album Morbido (2011), reissued by Replica Records/La face cachée, frames a dark, luminous minimal pop.
Presented by Kemayah, this live set blends neo-soul warmth with world-music rhythms, weaving intimate vocal lines and resonant grooves. The performance favors close, tactile moments and expansive melodic currents, inviting listeners into a relaxed, summery soundscape. Subtle arrangements and rhythmic nuance shift mood between languid sweetness and rhythmic pulse, creating a convivial evening of layered textures and emotional clarity. The evening highlights the immediacy of live connection.
REQUIEM POUR DU POGNON is a musical comedy that unfolds as a blackly comic inheritance farce. After the death of wealthy entrepreneur Marcel, a large, fractious family gathers to read the will: a humiliated widow, a lovesick secretary, an avaricious mistress, a dull son, neurotic daughters and grasping cousins. Songs, ensemble numbers and moments of karaoke expose secrets, rivalries and petty betrayals, shifting between biting satire and tender absurdity while the stage pulses with chaotic, carnival-like energy.
In French.
On a triple bill by the Ballet Junior de Genève, three new works unfold: Yuval Pick’s Revoada, Émilie Leriche’s sad game and Sharon Eyal & Gai Behar’s Untitled Black. The company moves with collective intensity, shifting between taut physicality and lyrical surges. Pick teases singularity through vibrant movement, Leriche propels the dancers into precise, breathless lyricism, and Eyal/Behar impose a hypnotic, technically demanding finale. The evening is charged, communal and viscerally alive.
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