The Théâtre du Jorat, Switzerland’s ‘sublime barn’

The historic façade of the Théâtre du Jorat. Keystone / Jean-Christophe Bott

The unusual architecture and idyllic setting of the Théâtre du Jorat has earned it the nickname “the sublime barn”.

To the best of anyone’s memory, a sitting king had never attended a performance in a Swiss theatre – until Albert I of Belgium came to see the play Tell at the Théâtre du Jorat in Mézières, canton Vaud.

The year was 1914. The theatre in question was founded in 1908. Its founder, René Morax (1873-1963), a playwright and director from Vaud considered “the father of theatre in French-speaking Switzerland”, was the author of Tell (as in William), set to music by Swiss composer Gustave Doret.

René Morax, writer and playwright from canton Vaud and founder of the Théâtre du Jorat. Keystone

Morax, who had written numerous plays, several of which are based on Swiss history and legends (La Dîme, La Servante d’Evolène, Davel), was smart. He knew that to appeal to the public, he had to focus on popular themes. On the eve of the First World War, his hero Tell, the Swiss symbol of resistance against oppression, impressed the King of the Belgians with his sense of duty and patriotism. But what also appealed to the monarch was the location itself, unique in Switzerland.

The Théâtre du Jorat is definitely not a stone building; it was built with wood and tiles. Its uniqueness stems from the composition of its construction materials, which are reminiscent of Shakespeare’s Globe in London.

The theatre is exceptional in several ways. First, its architecture, which has remained unchanged since its creation, albeit with a few refreshments, including some work in progress. The venue blends in perfectly with the natural environment of Mézières and the hilly landscape of the Jorat, a region to the northeast of Lausanne in western Switzerland. Its second distinctive feature is its nickname, behind which lies a very real anecdote.

The interior of the main hall. Keystone / Jean-Christophe Bott

One evening in 1965, Interior Minister Hans-Peter Tschudi attended a performance at the Théâtre du Jorat. Dazzled by the beauty of the venue, he described it as a “sublime barn”. The expression has stuck. “I hear Hans-Peter Tschudi speak with his German accent. For me, the charm also comes from his intonation,” says Ariane Moret, current director of the Théâtre du Jorat.

“At the back of the theatre, you have a beautiful view of the Alps,” she says. “It’s a magnificent backdrop, with cows of course, whose bells you can sometimes hear ringing during the performances. Foreign audiences say ‘your chalet is so beautiful’! It’s true that the exterior of the theatre is reminiscent of the Jorat barns of the last century, but in an enlarged version.”

Ariane Moret, director of the Théâtre du Jorat. Keystone / Jean-Christophe Bott

Moret, who is also an actor, has been in the boxes of many theatres during her tours. “They all look the same,” she says. “But those in our theatre are unique. They’re cramped, like a doll’s house, with ornate windows. You can’t help but bow down to this ancient, sometimes uncomfortable, style, because it’s part of the identity of this unusual venue.”

Another special feature is the presence of government ministers at premieres in the past. Hans-Peter Tschudi is not the only one to have visited the Théâtre du Jorat. At the beginning of the last century all seven members of the Federal Council would travel to Mézières for performances.

While René Morax had a flair for the theatre, he was no stranger to politics. Through his plays and his cultural activities, he wanted to strengthen the links between canton Vaud and the Swiss Confederation. The Confederation supported his project from the outset.

Federal Councillors Nello Celio (left), Hans-Peter Tschudi (second from left) and Ludwig von Moos (right) and their wives were the guests of honour at the Théâtre du Jorat on June 8, 1968. Keystone

Morax’s initiatives bore fruit. Over time, his theatre became a symbol of national cohesion appreciated by the government. “Members of the Federal Council are constantly asked to attend events that take place here and there […] They are obliged to decline these invitations. The only exception is Mézières,” said Federal Councillor Giuseppe Motta in 1931.

“Over the years, this custom has faded,” explains Ariane Moret. “Not surprisingly, the number of theatres in Switzerland has multiplied, making it impossible for members of the government to be present everywhere. Nevertheless, some of them come to Mézières for major events. This will be the case on September 6, at the inauguration of a number of spaces that we are renovating.” On that date Moret will welcome Interior Minister Elisabeth Baume-Schneider.

The Théâtre du Jorat was inaugurated in 1908 by René Morax. Here is a postcard from 1947. Théatre du Jorat

The sublime barn was listed as a historic monument in the late 1980s. It is now on the List of Cultural Assets of National Interest. What’s more, in 2017 it joined the European Route of Historic TheatresExternal link, which brings together 120 of Europe’s most interesting and best-preserved theatres from the Renaissance to the 20th century.

The Théâtre du Jorat also has a “brother” in France: the Théâtre du Peuple in Bussang, built in 1895, also of wood; it too is “ephemeral”, Moret says. Ephemeral, because it welcomes the public only during the summer.

“As at Bussang, our programming is limited to the summer season. We don’t have a choice, because there’s no heating system,” she explains. “At the end of the summer, we close and remove all the cushions and drapes for fear that they will be damaged by the damp. You see, rain and snow get through the cracks in the floorboards.”

In winter, the Théâtre du Jorat is a sleeping beauty. When the fine weather arrives, it blooms like a princess. Its story is a fairy tale.

Edited by Samuel Jaberg. Adapted from French by Thomas Stephens