Review: BOARDERS/GRÄNSER at Playhouse Teater

Henry Naylor's play, Borders, is about a 6-year-old Christian girl, "nameless", who sees her father captured and killed on a playground in Syria. She grows up in Syria under Assad's rule. As she gets a little older, she begins to protest against the government taking bigger and bigger risks. In parallel on another plastic, Sebastian, a young idealistic photographer, is struggling with his career. He takes pictures that no one wants. He gets the opportunity to accompany a famous journalist and take pictures of a warlord, but it is only when 9/11 occurs that the pictures are noticed. He ends up in a carousel of being a celebrity photographer, but it feels wrong. It is not about his pictures changing the world.

Inès Cherif and Tobias Aseplin are very intertwined, even though there are two parallel stories that are woven together only at the end. Present, intense, touching and touching, they reach directly into the heart of the audience. Feelings that can not be defended. Simple scenography and powerful lighting design enhance the personal and intimate feeling.

With the Russian invasion and the war in Ukraine that took place just a few days ago, Borders is even more tangible and uncomfortably topical. The timing of the premiere is frighteningly right, but just as it is for the photographer, Sebastian, it's just about being in the right place at the right time. Art is at its best when it touches and arouses emotions and thoughts.

Borders plays until April 6, and I can warmly recommend that you go and see it.

Tickets are on sales at:

https://www.playhouseteater.se/granser.aspx