Grosse Halle

Six fairground entertainers present their shooting gallery, but before the audience can buy their tickets, the machine of the stand explodes and nothing seems to work anymore. The machine must be repaired as quickly as possible. In doing so, the team moves from one scene to the next—each more absurd than the last.

In these different scenes, the protagonists are confronted with their intimate relationship to the apocalypse: destruction – hunger – disease – war – death. Clichés are overturned, plastic is eaten, entrails spill out, mass consumption is loudly celebrated, and silence is cherished. The audience watches in amazement as a possible end of the world—“après nous le déluge”—is performed to the rhythm of raw calypso music.

APOCALYPSO is a small company in which the performers play their own apocalyptic roles: victims or perpetrators. And sometimes, the roles are reversed. And yes, in the end, it is all a game to make money—the snake devours its own tail. The APOCALYPSO theatre reflects human misery within a temple of piety devoted to pleasure. It is an invitation to human decadence, presented as a delightful treat.

If there is a revelation (apo/calypse), it lies in uncovering the destructive mechanisms that drive our characters toward their own downfall.