Ungeland collects three different stories set at different locations with different groups.
But similar in that way that they deal with young humans struggling with social life in-between childhood and adulthood. The stories are very much about mechanism of groups. How can it be that we end up doing and saying things we don’t want to? Why do we again and again hurt people around us by ill-considered words and actions? Maybe more as young, but it doesn’t really stop, does it? The Swedish author Mirja Unge doesn’t give us any answers or explanations, she just tells these stories – again and again. With warmth and care she stages youngsters struggle with identity, to be someone in the group, defining yourself more in relation to others than to your own thoughts and dreams. Grown ups and their society are at a distance. Unge let us see what we seldom see – what is going on at the malls, the schoolyards, the locker-rooms,  or as here – at the closed roadhouse, the train compartment, or the usual place.

As  director/teacher Mia Höglund puts it: “I haven’t meet any one who were not involved in collective abuse as a teenager. These are pretty normal kids, they are not looking for trouble, they are not sick or damaged. Things drift out of hand and bad things happens.  What happens is terrible, but the author have a love for these kids and there is always a thin and fragile hope. Even though the stories are dark they are told with warmth and a great deal of humor  I think she offers us chance to humble recognition”.

Director of studies Peter Melin says: “We are so happy that Mirja Unge let us work with her texts. Trusting us to combine three different full length plays into one short that would suite the number of students and giving each one of them a challenge.  Mia have really done a fabulous work with the adaption. For the students this is really great material, they have been there, in that landscape not so long a go and I can see the effect it has on them to play newly written drama by such a great writer, driven by a need to tell us something about ourself and our society. Not every text you meet as an actor has this effect on you. Gives you that immediate response of being truly and overwhelming important.”

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