Part 1: A Whispering from the Past
The year is 2018, a summer of drought and dwindling resources. Journalist and farmer Elin Unnes reflects on the grim reality of crop failure, forced slaughter, and the looming "hunger months" of late spring when the previous autumn’s harvest has been exhausted. Unnes’s stark realization, that her children might not survive the winter under such circumstances, echoes a chilling whisper from the past – the hunger stones. These stones, embedded in riverbeds and lake bottoms across Europe, emerge only when water levels drop precipitously low, revealing inscriptions that serve as dire warnings from previous generations who faced similar hardships. One such stone, in the Elbe River, bears the inscription "If you see me, weep," a chilling testament to the suffering endured during a 17th-century drought. Like an ominous folktale, the hunger stones serve as a tangible reminder of the cyclical nature of hardship and the potential consequences of environmental neglect.
Part 2: Echoes in the Present
The specter of the hunger stones resonates deeply with Anna, a climate activist living in a collective in Malmö, Sweden. She, like the generations before her, recognizes the urgency of the environmental crisis and dedicates herself to fighting against the oil industry. Anna’s story unfolds within the context of Henrik Bromander’s new thriller, "Hungerstenarna" (Hunger Stones), a play exploring themes of duplicity, passion, and surveillance in a world on the brink of ecological collapse. The play opens with a recorded voice addressing the audience, a stark reminder of the pervasive nature of surveillance: "Remember that putting your phone in airplane mode is not enough to guarantee you are not being listened to." This sets the stage for a tense narrative that blurs the lines between activism and espionage.
Part 3: A Stage Set for Surveillance
Director John Hanse skillfully employs a revolving stage and sliding walls to seamlessly transition between the fervent and paranoid world of climate activists and the sterile, detached environment of the Säpo (Swedish Security Service) agents who monitor their every move. The play draws parallels to Florian Henckel von Donnersmarck’s 2006 film "The Lives of Others," where surveillance becomes a form of intimate connection, fostering a strange longing in the listener. Hanse eschews the now-common theatrical devices of breaking the fourth wall or employing meta-narrative techniques, opting instead for a more traditional, immersive approach. This, coupled with a feverish pace and rapid scene changes, lends the production the feel of a television series playing out on stage. This stylistic choice places considerable demands on the actors, who are tasked with conveying complex emotions and motivations within a rapidly shifting narrative landscape. While the fast-paced, emotionally charged scenes occasionally verge on overwrought theatrics, the understated humor provided by Olov Yassin as a meek activist and Josefin Iziamo’s coolly detached Säpo chief provides a welcome counterpoint.
Part 4: Navigating Clichés and Complexity
Playwright Henrik Bromander walks a tightrope between embracing and subverting clichés, often to great effect. The affectionate portrayal of bickering activists, complete with leopard print outfits and complicated interpersonal relationships, provides moments of levity and authenticity. Bromander captures the messy, passionate, and sometimes absurd realities of activist culture with a knowing wink. However, the play also relies on familiar tropes: the Säpo agent (Erik Borgeke) burdened by traumatic memories from Afghanistan, the activist (Hanna Carlsson) haunted by a troubled family history. Despite these well-worn narrative devices, the forbidden romance that develops between these two characters is imbued with a surprising degree of romantic tension and emotional depth, momentarily slowing the frenetic pace of the play.
Part 5: The Descent into Desperation
Bromander’s strength lies in his ability to portray the process of radicalization, and the actors rise to the challenge. Borgeke’s performance is marked by an underlying sense of instability, while Carlsson’s portrayal of the increasingly desperate activist is punctuated by flashes of darkness that hint at a deeper, more volatile nature. As the narrative progresses, their roles subtly shift, blurring the lines between observer and observed, hunter and hunted. Just when the audience thinks they have her pegged, Carlsson’s character reveals unexpected layers of complexity. The play explores the psychological pressures that can drive individuals to extremes, highlighting the fine line between conviction and obsession.
Part 6: A Reflection on Radicalization
"Hungerstenarna" is more than just a thriller; it’s a reflection on the anxieties of our time, a time marked by environmental crisis and increasing social division. The play explores the allure of radical ideologies and the potential for both hope and destruction that they represent. The hunger stones, looming large in the background, serve as a potent symbol of the consequences of inaction and a reminder of the cyclical nature of history. The play leaves the audience pondering the delicate balance between individual agency and collective responsibility, and the urgent need to address the existential threats facing our planet. Through the intertwined narratives of activists and agents, "Hungerstenarna" offers a complex and unsettling meditation on the choices we make in the face of impending crisis and the enduring power of hope in a world teetering on the brink.
