A Year in Theater: DN’s Top 10 Stage Productions of 2024
The year 2024 showcased a vibrant and diverse theatrical landscape, featuring thought-provoking dramas, innovative interpretations of classics, and bold explorations of social issues. Dagens Nyheter’s critics have curated a list of the top 10 productions that captivated audiences and pushed the boundaries of stagecraft.
At number 10, Turteatern’s "And Hell is Just a Sauna" introduced the acclaimed Swiss playwright Katja Brunner to Nordic audiences with a descent into the chilling world of Josef Fritzl’s cellar. This harrowing monologue, delivered by a brilliant Maria Zakrisson Mortensson, presented a survivor’s story without any softening of its harsh realities. The production’s stunning scenography created a nightmarish atmosphere, yet surprisingly incorporated elements of unexpected humor. While intense and emotionally demanding, the play’s raw honesty and powerful performance made it an unforgettable theatrical experience.
Malmö stadsteater’s "A Dream Play" ranked at number 9, offering a fresh perspective on August Strindberg’s classic. Director Katrine Wiedemann, in collaboration with circus director Tilde Björfors, twisted and turned perspectives, allowing actors to quite literally climb the walls. This visually arresting interpretation added a new dimension to Strindberg’s dreamlike narrative of Indra’s daughter’s descent to Earth. The production succeeded in creating the "aerial views" that Strindberg envisioned, transforming the stage into a dynamic space that reflected the play’s surreal atmosphere.
Dramaten’s "Liv och död Strömquist," the third successful collaboration between comic artist-playwright Liv Strömquist and director Ada Berger, secured the 8th spot. This humorous yet incisive production blended absurdist elements with social commentary, tackling themes of self-help culture, motivational speakers, and consumerism. Utilizing Dramaten’s grand stage, the ensemble embraced exaggerated gestures and rapid shifts in tone. The result was a choreographically exuberant and thought-provoking piece that critiqued contemporary society with wit and playful irreverence.
Number 7 saw Kulturhuset Stadsteatern’s production of Anton Chekhov’s "Three Sisters," directed by Eirik Stubø. Despite the open stage design, the production maintained a sense of poignant intimacy, eschewing any contemporary distancing. Shanti Roney, as the unhappily married Vershinin, captivated the audience with his philosophical musings on the future, prompting reflections on the echoes of these dilemmas in our own lives. This classic portrayal of Chekhov’s work highlighted the enduring relevance of the play’s themes of longing, disillusionment, and the search for meaning.
Teater Västernorrland’s adaptation of Karin Smirnoff’s novel "Jag for ner till bror" claimed the 6th position. Director Julia Marko-Nord and actress Amanda Jansson transformed the novel into a furious stage performance. Jansson, as the returning Jana, navigated a journey through grief and buried secrets, ultimately confronting the darkest truths of her past. The seamless transitions and powerful ensemble work created a compelling and emotionally charged theatrical experience, leaving a lasting impression on audiences.
"The World of Yesterday" at Moment teater, Stockholm, ranked 5th, presenting a unique adaptation of Stefan Zweig’s memoir. Director Andreas Boonstra opted for an illustrated reading of randomly selected passages, delivered by Linda Källgren and Anders Berg. This unconventional approach captured the naivety and impending doom of Austrian society in the early 20th century. The detailed set design and accompanying musical ensemble further enhanced the production’s atmosphere, creating a skillfully chaotic yet poignant portrayal of a bygone era.
Sara Stridsberg’s "Vertigo," directed by Rebecka Hemse at Dramaten, took the 4th spot. Staged within an anatomical theater setting, the play revisited the murdered woman from Stridsberg’s novel "The Antarctica of Love." Ingela Olsson’s exceptional performance brought a sense of humanity to the character, emphasizing her wholeness rather than her fragmented state. This artistic elevation of the narrative transcended the macabre and focused on the enduring power of human connection and the struggle for understanding.
Backa teater’s "Madness," co-created by Hanna Nygren and Helle Rossing, secured the 3rd position. This explosive production followed Elvira, an unruly young girl, on a journey guided by philosopher Michel Foucault. Drawing inspiration from Foucault’s "History of Madness," the play explored the roles we play to fit into society. While Foucault is dismissed as a "worthless magic fairy" for offering no happy ending, the final moments resonated with the message that "normality is a chimera" and "insanely revolutionary."
"Anna Vnuk is the Bastard," a self-biographical dance theater piece performed by Anna Vnuk at Unga Klara, secured the 2nd spot. Vnuk, a seasoned choreographer and dancer, blended jazz walks with an exploration of the history of bastardy, sharing her personal story of feeling like an unwelcome guest in life due to an absent father. This unapologetic confrontation with parental abandonment offered a moving reflection on identity and self-acceptance, amplified by a powerful soundtrack.
Topping the list at number 1 was Galeasen’s production of Ingmar Bergman’s "Fanny & Alexander." The Ekdahl family, portrayed in a decidedly un-cozy manner, shed the sentimental veneer of the original’s holiday setting. Directors Hannes Meidal and Jens Ohlin embraced a darkly comedic and subversive approach, creating a disturbing yet unforgettable experience. Christina Schollin, as Grandmother Helena Ekdahl, captured the essence of the play’s thematic exploration of self-deception and pretense, reminding us that we all "play our roles" with varying degrees of effort and consequence. This daring interpretation proved that even the most beloved classics can be reimagined with provocative and insightful results.
