Crash Zone. On a supposed crash site, three people – Fred, Dom and Yan – meet to pay tribute to their brother, who disappeared in a plane crash. But the body was never found, and doubt soon creeps in: was he really their brother? Did they ever even exist at all?
Crisis and Punishment by Jean-Pierre Martinez: a biting satirical comedy about the banking world, seen through the misadventures of James Carpenter, an unemployed actor sent by the Job Centre to work in a major financial institution on the brink of collapse. Assigned to the enigmatic “Customer Support Department”, he soon discovers the true nature of the job: serving as a physical scapegoat for ruined clients, a human punching bag who must hold the bank’s symbolic guilt. Slapped, insulted, hit, threatened at gunpoint, and eventually mythologised, James becomes the official martyr of a system in free fall.
Déjà vu. Two strangers — a man and a woman who seem to have never met — encounter each other on the terrace of a luxury Swiss hotel, each awaiting their own scheduled assisted suicide the next morning. What begins as a hesitant flirtation quickly takes an unexpected turn. In the second scene, both characters are propelled into a parallel, dystopian world: they reappear inside the modest living room of an outdated, utterly ordinary couple they are apparently meant to replace.
What remains of love, of identity, of self — when memory has been erased?
Friday the 13th. A darkly funny play about luck, guilt, and coincidence, Friday the 13th balances laughter and discomfort with the precision of black vaudeville, exposing the comic cruelty of fate.
Him and Her – Interactive Monologue unfolds through fifteen autonomous yet interconnected vignettes that trace the evolution of a contemporary couple facing the small and not-so-small tremors of everyday life. Each scene captures a fleeting moment: waiting in a theatre, a low-cost wedding night, a sofa crisis, a broken TV, petty arguments, existential doubts, trivial jealousies, worries about their child, nostalgia, sexuality, ageing, and the dizzying excesses of modern consumption. Blending wry humour, fragile tenderness and flashes of absurdity, the play reveals how two people build — and sometimes endure — a shared life. The minimal set, the brevity of the scenes and the precision of the dialogue transform these fragments into an intimate, funny and profoundly human portrait of a couple trying, not always successfully, to stay together.
Horizons. In a no man’s land that resembles a kind of purgatory, three characters — Ben, Dom, and Max — stand before an inscrutable horizon, unable to grasp where they are or even who they are. Have they survived a plane crash, fallen into a coma, or are they drifting through space at the edge of a black hole? Through dialogues mixing absurdity, dark humour, and cosmic vertigo, they explore the limits of consciousness, language, and memory.
King of Fools paints a razor-sharp and darkly comic portrait of contemporary politics as a machine that produces its own victims—and its own useful idiots. As the presidential election approaches, a desperate and failing political party selects a convenient fall guy to embody the coming disaster. Their plan? Promote a decoy candidate internally, while secretly backing an outsider meant to triumph. But their chosen fool—a simple driver named Patrick White—turns out to be far less predictable than expected… and so do the voters.
Nicotine paints a fragmented, sharp and darkly comic portrait of a workplace that has drifted into absurdity. On the smoking terrace of a large corporation, a parade of employees passes through the day as though navigating a succession of micro-crises: stressed managers, disillusioned interns, security guards, IT technicians, senior executives, temps, HR officers and sales reps — all revealing their anxieties, ambitions and self-deceptions. Through these encounters emerge the torments of contemporary working life: outsourcing, workplace burnout, layoffs, corporate suicides, security paranoia, toxic coaching, ecological guilt and an obsession with productivity. Alternately hilarious and unsettling, these scenes form a choral mosaic in which everyone struggles to survive inside a system that surpasses — and often crushes — them. The result is a social comedy that is both light and ferocious, holding up a mirror to a professional world in permanent freefall.
Stories and Prehistories. The play blends registers: anthropological farce, social satire and anachronistic dystopia. By transposing contemporary tensions into a fantastical prehistory, Jean-Pierre Martinez creates a comedy of displacement in which the supposedly “primitive” Bohosapiens reveal warmth and clumsy humanity, while the “civilised” Newanderthals embody arrogance, consumerism and polite brutality.
Surviving Mankind. On an Earth rendered uninhabitable by catastrophic climate collapse, humanity is gasping its last breaths. Between dark comedy, moral dilemma and dystopian suspense, Surviving Mankind exposes the fragile architecture of human hope.
