NOTICE
Boys don’t cry is cancelled and postponed to November in the Night Season of the Teatro Sociale
The dance performance of Hervé Koubi’s company is cancelled and postponed to 22 November at the Teatro Sociale in Como, as part of the Stagione Notte 2022-2023. Here are all the details for the refund of the tickets purchased.
Due to logistical problems linked to the international tour, the production and the Teatro Sociale are forced to cancel the show Boys don’t cry scheduled for Wednesday 13 July at the Arena del Teatro Sociale, as part of the Festival Como Città della Musica.
The show is postponed to Tuesday 22 November, at 8.30 p.m., at the Teatro Sociale in Como, as part of the theatre’s 2022/23 Night Season.
Those who have purchased a ticket may request a refund or exchange it for a ticket for the new date no later than 15 July 2022.
Those in possession of a paper ticket will have to return it to the Theatre box office to receive a monetary refund or the new ticket, those who purchased online or are in possession of a print@home will have to send an e-mail to biglietteria@teatrosocialecomo.it specifying the name with which the purchase was made and their iban in order to receive the bank transfer or request the new seat for November.
by Chantal Thomas e Hervé Koubi
Choreography Hervé Koubi e Fayçal Hamlat
Dancers Houssni Mijem, El Houssaini Zahid, Nadjib Meherhera, Mohammed Elhilali, Bendehiba Maamar, Badr Benrguibi, Oualid Guennoun
Music by Diana Ross, Oum, canti tradizionali russi
Musical creation Stéphane Fromentin
Arrangements Guillaume Gabriel
Lighting designer Lionel Buzonie
Costumes Guillaume Gabriel
Based on a work by French writer Chantal Thomas around an unlikely football match – “playing” and “dancing” field – Boys don’t cry, a 2018 creation by Hervé Koubi for seven dancers, is a reflection on the construction of identity in a ‘closed’ society, through moments of spoken text combined with the company’s characteristic style, between hip-hop and contemporary fluidity. What it means to choose to become a dancer when you are a boy, especially when you come from countries where gender difference still weighs heavily on individual destinies. The work plays on the cliché of the young man who prefers dance to typically ‘masculine’ sports and the tension this choice can cause with family and society. Only by embracing the transcendent joy of dance will this group of young men be able to break free from the toxic masculinity to which the dominant culture of their society would have them destined.
