Children’s Voices Take Center Stage in Global Theater Project

“The Guardians of the Gods” Explores Adult Power Dynamics from a Child’s Perspective

A groundbreaking international theater project, “The Guardians of the Gods,” is captivating audiences by giving a voice to children worldwide. The play, penned by Erik Uddenberg, premieres at Stockholm’s Parkteatern, offering a unique look at adult authority through young eyes.

Global Perspectives on Adult Authority

Children from eleven countries across five continents have contributed their insights to “The Guardians of the Gods.” Their responses to Uddenberg‘s interview questions form the core of this 50th-anniversary production for Young Klara. The play delves into what it’s like to live under the control of those who wield power, drawing parallels to divine figures.

The performance artfully captures children’s observations of adults’ often contradictory behaviors. Phrases like “they say one thing and do another” or a father’s tendency to “always say no first, then he says yes” resonate universally. The production amplifies these voices through the dynamic performances of Yohannes Frezgi and Rita Lemivaara.

Imagination and Resilience Shine Through

Despite the challenging themes, the play highlights children’s inherent resilience, imagination, and empathy. Lemivaara defiantly states, “I’m not ‘just a child’. I’m a child, and I understand everything.” This sentiment underscores the invisible strengths that children possess, positioning them as the “future gods” of their own worlds.

Uddenberg‘s script and Gustav Deinoff‘s direction navigate seamlessly between humor and gravitas. The production bravely tackles subjects such as childhood, child marriage, violence, and abuse, fostering a space for dialogue through theatrical imagination.

A Visual and Auditory Feast

The play’s energetic choreography, courtesy of Diana Meriline, complements the fast-paced narrative. Tayza Naing‘s dynamic sound design and Deniz Göl‘s sporty costume designs, which evolve into flowing god-like attire, further enhance the production’s impact. The scenography features mirrors with rounded water-like forms, serving as both reflections of reality and portals into imagination.

This innovative production has toured globally, with classroom performances for middle schoolers scheduled in Stockholm following the Park tour. According to UNICEF, as of 2022, approximately 2.2 billion children worldwide live in countries with child marriage bans that are not yet universally enforced, highlighting the real-world relevance of the play’s themes. (UNICEF)