In this adaptation, the story is situated in a not-too-distant future on an island where those who ‘flee’ are brought together until a decision is made about whether they can go to the continent or not. But the continent has already kept its borders firmly closed for years. Relief workers and military personnel are on their own when it comes to keeping everything running. Society sinks into moral laxity.  

The headman of the island, Lucien Cordier, is a weakling, the laughingstock of the town, who turns a blind eye to the corruption all around him. Until something in him snaps. Without any scruples, he starts ridding himself of everyone who gets in his way.

The production is a confrontation between scenographic precision and boisterous, raw playfulness, between literary seriousness and seeming capriciousness, between a well-thought-out design and an anarchistic approach. 

Populated with grotesque characters in extreme situations and full of sharp repartee, the universe of Bagaar balances on the edge of the abyss. Biting social criticism mixes with black humour in an uneasy fable about the moral bankruptcy of a society which is extremely similar to ours.