S – Entropy

Nicolas Stephan

concert for Surnatural Orchestra

Winter 2026/2027 Creation

Duration: One hour (perceived)

Preamble
Surnatural Orchestra does not usually entrust the writing of a concert, show or creation to a single person, even within the orchestra itself.
This has never happened in over 25 years of existence. The composition of the music has always been entrusted to the collective, to the multitude. However, the orchestra’s next “concert” will be written by one of its saxophonists, Nicolas Stephan.
The interest of this new development lies in the opportunity it gives to an artistic vision to express itself fully within the orchestra. To pull a single thread to the end of the spool and bring out the Joy.

Presentation

S is a concert Nicolas Stephan has been dreaming up for Surnatural Orchestra for over 20 years. In thermodynamics, S is the symbol for entropy, the measure of disorder.
For Surnatural Orchestra, it is an attempt to set chaos to music, a scattered moment. The place where all sound possibilities can occur, at the turn of an unpredictable composition.
Graphic scores are occasionally projected onto the walls, played and deciphered live. Large orchestral pieces, as if amazed to be there, intersect with cosy songs.
Everyone finds themselves at the edge of the diving board as they take the plunge. It could be dance, it could just be. It improvises winding paths like the letter.
S is a concert entangled with silences, voices, accidents, movements, joy(s) and indecisive sounds.

lineup

Fanny Martin / flutes, Clea Torales / flute, alto saxophone, Camille Secheppet / alto saxophone & sopranino saxophone, clarinet, Nicolas Stephan / alto saxophone, Jeannot Salvatori / alto saxophone, Guillaume Christophel / tenor saxophone & soprano saxophone & clarinet, Martin Daguerre / baritone saxophone, Guillaume Dutrieux / trumpet, Hector Léna Schroll / trumpet, Julien Rousseau / euphonium, trumpet, Bertrand Landhauser / trombone, Hanno Baumfelder / trombone, Morgane Pommier / bass trombone, Christelle Séry / guitar, Fabien Debellefontaine / sousaphone, Ianik Tallet / drums

Guadalupe Marín Burgin / visual creations and animated scores, Marie Desoubeaux / movement direction

Anne Palomeres / lighting, stage management, Rose Bruneau / sound engineer, Zak Cammoun / sound engineer

S : a short title… A bit of theory

Entropy, in thermodynamics (denoted by S in the scientific world), is the ‘measure of disorder in a system’.
Here, disorder does not mean a lack of order, but rather the number of possible configurations, potential disorganisations, or anarchy, and the freedom of movement of elements in relation to each other.

The ‘system’ here is an orchestra. Seventeen musicians on stage, producing sounds. Energy, vibration, heat and movement.

We know that the entropy of a closed system increases inexorably.
In the orchestra system, this will lead the musicians to explore and multiply sound configurations until they reach a point of ultimate equilibrium, a fantasised state of musical serenity, of Joy.
Joy as a weapon of resistance

Paradoxically, if we push the analogy between the entropy of an orchestra and that of the universe, it will then be a question of ‘the heat death of the universe’ (according to ancient theories) set to music…

Scenographic and technical design partners

The adaptation of the graphic scores into large-format video will be entrusted to Guadalupe Marín Burgin, an Argentine visual artist with whom the orchestra has already worked on Clameurs. She will redraw these scores with her own sensibility and project them onto a large screen visible to the audience and orchestra for a general immersion into the world of S.

This concert will require a new stage layout, more grouped together to form a sort of square in the centre of the stage. Small ‘islands’ of microphones arranged on either side will formalise other spaces that the musicians will occupy occasionally. This spatialisation of sound, which our sound engineer Zak Cammoun will work on in advance, will be accompanied by a lighting design by Anne Palomeres.

Finally, we will call on choreographer Marie Desoubeaux to devise ways of moving in relation to the music, which will undoubtedly give rise to a particular style of movement and moments of individual and collective dance. This will allow gestures to become part of the sounds.

La bamboche à bambins (The kids’ party)

A participatory concert by Surnatural Orchestra, tailored to children

Here, we are immersed in a joyful, toddler-friendly soundscape. At first glance, it seems no different from a regular orchestra concert.

However, these special concerts are shorter (around 45 minutes), which helps to keep the young audience’s attention throughout and offers a concentrated experience focused on musical variety and festive arrangements.

A siku workshop (Latin American pan flute) given by two musicians from the orchestra before each performance sets the tone and warms up the audience. The workshops are open to all, and the basics taught will allow everyone to join in the concert with the enthusiasm that comes from wanting to share their instrumental skills.

Through this active participation by children (and everyone else!), it is a way of raising awareness from within and doing so collectively of the sensitive and artistic power of music on a large scale, and its specific characteristics: composition, improvisation, responsiveness, delicacy or mass sound…

Participatory concert

The audience at the heart of the show !

Sikus

Sikus are bamboo flutes originating from the mountains of northern Argentina, traditionally played during processions in the Andes. Lightweight and easily transportable, although manufactured in Lima, our sikus remain very affordable instruments.

Often played solo, the instrument is used in pairs, with one musician playing two flutes, one playing some of the notes and the other playing the rest. The sikus thus form inseparable pairs to create melodies. The sound is fairly easy to produce. All this makes it a very playful instrument, and therefore very suitable for educational use. Developing group playing is our main interest. The completeness of the sounds produced brings a single instrument to life: a kind of human organ.

Soundpainting

Invented by Walter Thompson in the United States in the 1970s, this sign language has since spread throughout the world, both for creating music in real time and as a conducting tool. It is used by musicians as well as dancers, actors, technicians, and others.

Here, we will use it with workshop participants, among ourselves as musicians in the orchestra, and also in real time with the audience, as the simple conducting gestures are easy to understand and use through simple imitation.

One-hour workshops are available for groups of between 10 (minimum) and 35 people (maximum). These workshops can be organised in schools or offered as parent-child activities. The minimum age is 7 years old.

Sikus Workshop

Take the time to discover the instrument, learn how to blow, make a sound, and above all: listen to each other. The idea is to learn pieces in which each person will play only one part, with the parts intertwining to form the melody.

We will learn several pieces that will be played during the concert with Surnatural Orchestra. While learning these melodies, we will introduce participants to some concepts of sound painting, so that they can direct, organise and modulate the amateur participants during the concert and interact with the orchestra.

Body Percussion Workshops

Become aware of rhythm, movement and sound through the body. Explore how to strike, rub, tap, blow, move and listen.

The aim is to create music from simple, collective gestures, to learn to play together, to find a common beat, to listen to others as well as yourself.

This workshop is also a gateway to the La Bamboche à Bambins concert, where participants will rediscover these rhythms on stage, in dialogue with the orchestra.

A fun and lively experience, where the body becomes the primary instrument and music becomes a shared game.

lineup

Naïé Dutrieux / flutes, Clea Torales / flute, alto saxophone, Camille Secheppet / alto saxophone & sopranino saxophone, clarinet, Nicolas Stephan / alto saxophone, Jeannot Salvatori / alto saxophone, Guillaume Christophel / tenor saxophone & soprano saxophone & clarinet, Martin Daguerre / baritone saxophone, Guillaume Dutrieux / trumpet, Hector Léna Schroll / trumpet, Julien Rousseau / euphonium, trumpet, Bertrand Landhauser / trombone, Hanno Baumfelder / trombone, Morgane Pommier / bass trombone, Christelle Séry / guitar, Fabien Debellefontaine / sousaphone, Ianik Tallet / drums

Anne Palomeres / lighting, stage management, Rose Bruneau / sound engineer, Zak Cammoun / sound engineer

Clameurs (Clamors)

the show

Like its many other stage offerings, the Surnatural Orchestra’s new concert repertoire is written and performed as an organic, surprising show in perpetual motion. All aspects of the performance – music, sound, lighting, space, audience – were conceived as materials to be sculpted and played with.
During the writing and creation in residence, the repertoire was composed with several aesthetic prerequisites in mind: a significant place for improvisation and soundpainting, the improvised and shared conducting technique that has been dear to the collective since its beginnings, as a space of freedom and complicity; research into the spatialization of sound, with the technical team working hand-in-hand to write and set the sound so that the pieces can be performed on stage as well as in the audience or backstage; and a luminous scenography that plays on reflective effects and intensities, notably through the use of faceted costumes and accessories.

lineup

Bertrand Landhauser (trombone)
Camille Secheppet (alto sax, clarinet)
Christelle Séry (guitar)
Clea Torales (flute, alto sax)
Fabien Debellefontaine (sousaphone)
Fanny Martin (flute, piccolo)
Guillaume Christophel (tenor sax, clarinet)
Guillaume Dutrieux (trumpet, flugelhorn)
Hanno Baumfelder (trombone)
Hector Léna Schroll (trumpet)
Ianik Tallet (drums)
Jeannot Salvatori (alto and baritone saxes)
Julien Rousseau (euphonium, trumpet)
Martin Daguerre (baritone sax)
Morgane Pommier (bass trombone)
Nicolas Stephan (alto sax)
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Anne Palomeres (lighting)
Rose Bruneau & Zak Cammoun (sound engineers)

required information and production

Collectif Surnatural is supported by the DRAC Ile-de-France (conventional package and stimulus fund 2021), the Ile de France Region (PAC – investment grants), the Departmental Council 93 (departmental company – investment grants), the CNM (investment grants), the SACEM (support for large-scale projects) and occasionally by Spedidam. It is a member of the artists’ federation for music in Grands Formats and the FSICPA (federation of independent artistic creation and production structures).

Pic

Preamble

The unrelenting erosion of the sandcastle at the base of our lives is not bad in and of itself. It forces us to stay mobilized. The fragility of what is being built can call for ironic and absurd responses, and that is the direction we want to take… Our answers (even if they remain questions) are in our artistic content as well as in the way we put it into practice. A way of being together. Of casting nothing aside…

1-The Show

Lightweight balsa wood planes move in circles under the tent, endlessly propelled by firefly wings. A tall chap bounces up and down, elastic, on a net in the centre. Like swarms of bees suspended from the sky, clusters of musicians play, huddling close together and eyes interlocking with the audience. The music is loud and heavy—yet the musicians fly, levitate, escape… while the instruments fall like rain, collecting dents along the way. Somebody has to save them. But here come twenty more players hurtling into the space, snatching him, from the trampoline where the other is still bouncing. Someone grabs the large circus prop from him, gives it back, and still he hangs on, like a bewildered cat. Propelled by the twenty-strong team, the trampoline master takes flight. Spins and swirls through the air. They let him go (the trampoline collapses), they strike up a new song, the cat has disappeared.

This opus is a big tent production born of the reunion between the orchestra and Yann Ecauvre/Cirque Inextrémiste. Vast and intimate, scenic… charged, made alive all at once. We’ll play a show in three dimensions and 360 degrees, right at the audience’s fingertips. Communing rather than representing. Like life in society, celebrating the subjectivity of all. No one is ever mere spectator, all are participants.

Pic aims to suspend our perceptions as much as our certainties. To fashion marvel with exposed seams and threads. The ultimate surprise is that this magic is the stuff of handicraft—which is another way of saying that we’re searching elsewhere… to give the impression that we are of a world where every logic is elsewhere, different, and difficult to discern.

A farce on weightlessness and all that weighs on us, the show plays with contrasts. The levity of the trampolinist counters the weight of the apparatus propelling him. And the twenty humans transporting him are there to tell the story. From a heavy and unctuous solo, to a soft and vaporous tutti, the music is not there in service of the circus scenes—it shapes their sense and emotion. The choreographies of bodies and movements make light of every constraint. Let everyone be free, or bound to their neighbour with string pulling the counterweights… or see how the individual makes the group waver. With their whimsical softness, the flying “ultralights” by Fabrice Dominici (airplanes made of balsa wood, twisted high-tech materials and a jumble of feathers….) inspire a meditative silence. They serve as a counterweight to, at times simultaneous with, scenes evoking the power of the collective (orchestral sounds or human crowds), the immoderate effort of physical resistance (suspensions, pyramids, chains of acrobats hanging by a single arm), or the trifling lucidity of a clown.

Designing and performing such a show may seem out of place these days. We wish it as a poetic-utopian window open to our common future. A welcome overflow, a carnival in the rain. Our large group of people not only on stage, but in motion, like a parable of the social human. Window to the imagination, and to encounter.

2 – The Team

artistic direction : Yann Ecauvre
artistic coordination / outside consultation : Camille Secheppet and Delphine Dupin
stage manager and associate scenographer : Nicolas Legendre
lighting design: Jacques-Benoît Dardant
audio device design : Zak Cammoun
rigging design : Hervé Banache
costume design : Solenne Capmas
administration : Christine Nissim & Béatrice Brociner
booking : Roselyne Burger : roselyne@surnaturalorchestra.com / +33 (0)7 67 79 14 85

On and off the circus ring :

Antoine Berjeaut (trumpet), Basile Naudet (alto and sopranino saxes), Bertrand Landhauser (trombone, keyboards), Boris Boublil (keyboards, guitar), Camille Secheppet (alto sax, clarinet), Clea Torales (flute, voice), Fabien Debellefontaine (sousaphone), Fabrice Dominici (juggling and burlesque), Fabrice Theuillon (baritone sax), François Roche-Juarez (trombone, voice), Guillaume Christophel (tenor sax, clarinet), Guillaume Dutrieux (trumpet), Hanno Baumfelder (trombone), Ianik Tallet (drums), Jeannot Salvatori (alto sax, cavaquinho, voice), Julien Rousseau (euphonium, soprano trombone), Léa Ciechelski (flutes, voice), Nicolas Stephan (tenor sax, voice), Rémi Bezacier (trampoline), Sven Clerx (percussion), Viivi Roiha (rope and suspension), Yann Ecauvre or Delphine Dupin (burlesque acrobat)

Bernard Molinier, Max Héraud, Laurent Mulowsky, Benjamin Leroy (Builders and tent erectors) / Hervé Banache, Julien Favreuille (rope access technicians) / Jacques-Benoît Dardant and Anne Palomeres (lighting) / Zakariya Cammoun, Rose Bruneau and Manu Martin (sound)

3 – Production

This show is hosted in residence and co-produced by : The Agora – PNC of Boulazac Aquitaine ; CIRCa Pôle National Cirque, Auch Gers Occitanie ; L’Azimut – National Circus Pole in Ile-de-France – Antony/Chatenay-Malabry (residence at the Smallest Circus in the World – center for circus arts and emerging cultures); the 2-pole Circus Platform in Normandy, La Brèche – National Center for Circus Arts in Normandy and the Cirque-théâtre of Elbeuf; the Fratellini Academy (Saint-Denis) as part of a residence of the Departmental Council of Seine-Saint-Denis; The Jean Moulin-Les Guilands departmental park (Bagnolet-Montreuil).
Its creation is also co-produced by the Théâtre de Cornouaille – national scene of Quimper, center of musical creation; The 2 scènes – SN of Besançon ; the MSM-Normandy urban community ; le Parvis – SN of Tarbes Pyrenees ; La Coursive – SN of La Rochelle ; The Street and Circus Cooperative (2r2c) ; Cirque Jules Verne – National Circus and Street Arts Center – Amiens.

It receives National Circus Aid from the DGCA, aid for creation from the CNM, the Ile-de-France Region and Spedidam, as well as aid for the Onda tour.

Collectif Surnatural is supported by the DGCA/DRAC Ile-de-France (contracted entity and 2021 recovery fund), the Ile de France Region (PAC – investment aid), the Conseil Départemental 93 (departmental company – aid for investment), the CNM (investment aid), the SACEM (aid for large housing estates) and occasionally by Spedidam.
He is a member of the federation of artists for music in large formats and of the FSICPA (federation of independent structures of creation and artistic production).

La toile (Canvas)

We share an affinity for ineffable things and uncharted terrain; for the outer fringes of the mind and vistas yet to explore; for all those places where the seeds scattered by the winds of sheer exhilaration find room to grow. Neither of us knows where we’ll plant our tent’s pegs tonight, nor which sheets we’ll borrow and lay under our lamps to make ourselves a home ‘til tomorrow. We feel the same vertigo for the ground we left behind to walk the exacting path of the tightened rope. We feel the same joy in making the audience shiver, in tiptoeing across all that is fragile, in sensing the echoes of our own risks reverberate around us.

From all those places, we meet. From the circus to us, there is but one step—and we will take it, once again.

“Toile”: a single word, whose meanings stretch from cloth to web, canvas to tarp, and that lends its name to our show(s). With this concept, we seek to capture the meeting point between Surnatural Orchestra, its vast repertoire, its inventive disposition, and circus people in all their diversity. The meeting takes the shape of a short residency, designed to cater to the strengths of its protagonists while stimulating dialogue on the manifold possibilities for combining circus numbers and orchestral energy. Through these dialogues, universes blend until they’re impossible to tell apart, creating a show that is thoroughly unique. Performed on a one-off basis and with 20-25 people onstage, the show channels the beautiful fragility inherent to its concept.

La Toile has been performed in many guises since 2009, with members of the following companies:

Les Colporteurs, Cirque Inextremiste, Basinga (Tatiana-Mosio Bongonga), L’Immédiat, Bikes & Rabbits, Cheptel Aleikoum, Toi Dabord…

Post scriptum: An initial collaboration with Compagnie Inextrémiste ultimately led to the creation of several evolving editions of “La Toile.” All very diverse, they in turn became preambles to an original circus show: “Esquif.”

Après Z

Repertoire of renewal, After Z begins a new period in the life of the orchestra. With the arrival of new musicians / composers, the music, always very orchestral, records this turning point of the desire for voices, taken from the making of the show Tall Man. Songs and choirs trace their furrows in the heart of this recent repertoire which advances without nostalgia. The after is always a before.

Team

Léa Ciechelski (flute, alto flute, piccolo), Clea Torales (flute, alto sax), Camille Secheppet (alto sax, clarinet), Basile Naudet (alto sax), Jeannot Salvatori (alto sax, cavaquinho), Guillaume Christophel (tenor sax , clarinet), Nicolas Stephan (tenor sax, voice), Fabrice Theuillon (baritone sax, effects), Pierre Millet (trumpet, flugelhorn), Julien Rousseau (trumpet, flugelhorn, euphonium), Antoine Berjeaut (trumpet, flugelhorn), François Roche -Juarez (trombone), Hanno Baumfelder (trombone), Judith Wekstein (bass trombone), Boris Boublil (keyboards, guitar), Fabien Debellefontaine (sousaphone), Ianik Tallet (drums), Sven Clerx (percussion)

Zak Cammoun and Rose Bruneau (sound), Anne Palomeres (lights), Jérôme Bertin (general management)

Tall man

concert (set) design by Surnatural Orchestra

Created at the Nouveau Théâtre de Montreuil (93) between November 16-22, 2018

“He says nothing, doesn’t flinch. Our breath pulls him in, our balsa puppet. He swings back and forth, like a pendulum, says nothing, doesn’t flinch. Have you lost your way, beacon of bones, beacon of bricks and baubles? Where are you going, with that static gait? Eyes closed, to avoid seeing the red earth paths under our feet. We are here, hanging off your every breath. With a bat of your lashes, you’ll let us know. Train tracks, rust powder. But if everything falls apart, don’t tell anyone what you see…”

A collective creation by the Surnatural Orchestra, Tall Man blends lyrics and texts with new compositions. All the while indulging the group’s narrative inclinations, it marks a merger with the universe of visual artist Elizabeth Saint-Jalmes.

Tall Man, ambiguous and emblematic figure of Authority, is the connecting thread for this show. If his presence seems as ineluctable as his vertiginous absence, it nevertheless causes much trouble. It opens an opportunity to ask: from what domination should we free ourselves? What pains do we suffer from? Are we still on the right track when this society of abundance, entertainment, security and control seems to immobilize us—physically, mentally? What new world(s) can we build together?

At the heart of the show is the pop-suffused repertoire, sweeping across a wide spectrum of sounds—from ellingtonnian ballads to African grooves, from the sonorities of Kurt Weill to the flights of a tarantella. Sung, spoken or recited, written or improvised, words take centre stage with conviction and humour, distilling visions and making provocations… before inviting an escape to Utopia, immediate and collective.

Invited to support the concept and explore it in tandem, visual artist Elizabeth Saint-Jalmes has created costumes for the story… and a mastodont of a set. It is a matter of before and after, of paths to reinvent, of codes, of holding back and letting go. A moment together to share immediate joys and mischievous tricks, doubts and questions. A place to try creating a taste of that After, for everyone to see—in confidence, abandon, play, dance; in a moment of show, ball, carnival; in a court of miracles. Photos: Valérie Frossard and Stephen Bedrossian.

Esquif

A circus and music show

by Surnatural Orchestra, Inextremiste and Basinga

created at Grainerie (Fabrique des arts du cirque et de l’itinérance), Balma (31), between April 18 and 28, 2016.

They won’t go far, they’ll go there, a few steps forward, wood plank bassline cord tightening,

Gas tanks by the dozen flute theme on a bed of brass.

Rhythms travelling from bottle to bottle (the hollow steel reverberates),

If one of them trips, the whole group capsizes.

18 musicians (a real-life orchestra), uncouth acrobats, a tightrope dancer on her high-up perch, beings that fight to stay standing, in (precarious) balance over what they find at their feet, whether they believe it’s solid earth or a playing field.

An eclectic troupe, united by a certain penchant for risk,

A strange habit of diving headfirst into uncomfortable situations,

With the intuition that something alive and exciting will always surface.

Fragile and strong all at once, all together, all in time.

To buy the disk, please click here .

Team

Fanny Menegoz (flute, piccolo), Clea Torales (flute), Adrien Amey (soprano and alto sax), Baptiste Bouquin (alto sax, clarinet), Jeannot Salvatori (alto sax, cavaquinho), Guillaume Christophel (tenor sax, clarinet), Nicolas Stephan (tenor sax, vocals), Fabrice Theuillon (barytone sax, effects), Guillaume Dutrieux (trumpet, bugle, mellophone), Julien Rousseau (trumpet, bugle, euphonium), Antoine Berjeaut (trumpet, bugle), François Roche-Juarez (trombone), Hanno Baumfelder (trombone), Judith Wekstein (bass trombone), Boris Boublil (keyboards, guitar), Laurent Géhant (sousaphone), Emmanuel Penfeunten (drums), Arthur Alard or Sven Clerx (percussions)

Yann Ecauvre & Rémy Bezacier (acrobats, Cirque Inextremiste), Tatiana-Mosio Bongonga (funambule, Compagnie Basinga)

Zak Cammoun, Guillaume de la Villéon, Rose Bruneau and François-Xavier Delaby – alternating (sound), Jacques-Benoît Dardant (lights), Nicolas Legendre (technical director)

Coproduced by

La Grainerie – Fabrique des Arts du cirque et de l’Itinérence-Balma, Cirque théâtre d’Elbeuf, Pôle National des Arts du cirque, L’Agora scène nationale d’Evry, Les 2 Scènes scène nationale de Besançon, Nouveau Théâtre de Montreuil, 2R2C Coopérative de Rue de Cirque and Théâtre du Vellein with the support of L’Académie Fratellini.

ESQUIF was supported by the Région Île de France (production support for circus arts) and the ADAMI (dispositif ADAMI 365). The music for this show was partly created during a composition residency at the Théâtre les deux Scènes – Scène nationale de Besançon, supported by the Ministry of Culture and communication, the SACEM, ONDA and the Groupe Caisse des dépôts. Seasons 14/15 and 15/16.

Profondo Rosso

Notes sur un ciné-spectacle

premiere in Grenoble, Dolce Cinema festival, November 2007

1 – the show

Shot in 1975, Dario Argento’s film belongs to the Giallo movement that emerged in Italy in the 60s. A highly stylized gore thriller of undeniable graphic beauty, steeped in psychoanalysis and shot through with filmic and pictorial references, Profondo Rosso is a masterpiece of the genre.

Mark Daly, a pianist in Turin, witnesses the murder of Helga Ullman, a medium who has just telepathically unmasked a murderer at a parapsychology conference. Convinced that he had seen something that evening, and assisted by a young journalist, he conducts his own investigation. Revealing secrets thought to be buried forever, he unleashes a murderous spiral.

The orchestra takes up the film and reinvents its soundtrack, inviting an actor, a dancer and a guitarist for the occasion, turning resolutely towards electric, organic music.

Contemporary with Italy’s “leaden years”, the wave of gialli also appears to reflect a terrorized era, dazed as it is by Pasolini’s sordid murder.
In addition to the orchestra’s original music, with impromptu theatrical and dance interventions, the show establishes its own parallel stories, surtexts that alter or comment on Argento’s giallo. The links woven between film, text, dance and music resonate with each other, creating visual and aural spaces where poetics and politics collide, and which, through a committed portrait of the Italy of the time, speak to us of the contradictions and fears of our modern societies.

2 – team and distribution

Adrien Amey (MS20 keyboard, soprano sax, flute)
Antoine Berjeaut (trumpet)
Antonin Leymarie (drums)
Baptiste Bouquin (alto sax)
Boris Boublil (keyboards, piano)
Clea Torales (flute)
Fabrice Theuillon (baritone sax)
François Roche Juarez (trombone)
Fidel Fourneyron (tuba)
Guillaume Magne (guitar)
Hanno Baumfelder (trombone)
Jeannot Salvatori (alto and baritone saxes)
Judith Wekstein (bass trombone)
Julien Rousseau (trumpet, flugelhorn)
Katia Petrowick & Anne Palomeres (alternating) (dance)
Laurent Géhant (sousaphone)
Maxence Tual (actor)
Nicolas Stephan (tenor sax)
Robin Fincker (tenor sax, clarinet)
Sylvain Lemêtre (percussion)
Sylvaine Hélary (flute, piccolo)
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Damien Christéa (lighting)
Zak Cammoun (sound)

Also reprising roles : Marc Chonier (actor), Julien Omé (guitar)…