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Lars von Trier’s film Melancholia is the perfect source material for a grand operatic experience. A decadent wedding that ends with the destruction of the Earth, accompanied by the Royal Swedish Orchestra, synthesizers and magnificent voices.

“The most awesome opera in a long time,” wrote the newspaper Expressen on its world première at the Royal Swedish Opera in 2023. Follow the musical apocalypse with Justine’s depression, the approaching planet and Anne Sofie von Otter as the acerbic mother. 

Composer Mikael Karlsson and librettist Royce Vavrek have ushered the art form of opera into a new era. With a contemporary soundscape and lyrics that cut straight through the music, they have created an opera that truly delivers a punch to the chest.

RUNNING TIME: approx. 3 hrs incl. interval
STAGE: Main stage
LANGUAGE : English, Swedish sub titles
Read more: https://www.operan.se/forestallningar/melancholia#Medverkande%20&%20kreativt%20team

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Point of You is a participatory performance that uses the transformative power of theatre to create a safe space for reflection and dialogue about freedom, belonging, and social change.

Participants are invited to share experiences, listen actively, and collectively imagine the kind of society we want to live in—a space where different perspectives are welcomed and valued.

Throughout the performance, participants are guided through a series of interactive exercises that evoke memories, spark reflection, and inspire shared visions for the future. The starting point may be a childhood experience of justice, or a moment when someone’s voice went unheard. These personal stories are woven together into a collective exploration of responsibility, agency, and the possibility of change.

As the conversation unfolds, a shared narrative emerges, where individual experiences become part of something larger.

What kind of society do we want to create?

How can we live together—and make our voices heard?

Point of You is informed by research on future generations and social sustainability conducted at the Institute for Futures Studies. The performance has been presented at theatres and museums and can be adapted to a wide range of venues.

Team

Point of You is created by:
Helena Hammarskiöld (former artistic director of Dramaten&),
Jörgen Dahlqvist (playwright, PhD candidate at Malmö Theatre Academy),
Tomas Rajnai (director, founder of Osynliga Teatern)
Jens Nielsen (director and dramaturg, co-founder of Osynliga Teatern)
Performance is led by actor/poet Niklas Mesaros.

The project is developed in collaboration with the Institute for Futures Studies.

The performance is conducted in English.

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Under a gigantic cloud hovering above the stage, Halla and Sindri have a never ending conversation on the topic of fathers. The conversation spills into the audience, creating a soft world of imaginary dads.
Papa is a duet that drifts through memories, fantasies and shifting identities. Across a spectrum of father figures, a collage of scenes unfolds as dance and jokes collide. Dad jokes, bad jokes, or simply sad jokes.
Halla and Sindri have very different relationships with the father figures in their lives: Sindri with daddy issues; Halla being the so-called daddy’s girl. Through storytelling and conversation, they share their personal mythologies, tracing the outlines of masculinity, power, desire and care.
Soft audience interaction may occur, through sound, gentle touch and parts of the show are live audio described by the performers.

Papa, with and by Halla and Sindri with the music of Planningtorock, is a lighthearted performance with a queer integrity that reaches out to anyone who has a relationship to a present or absent father. Ólafsdóttir/Runudde approach the performance as an exploratory trip, where the encounter with the audience is just as important as the artistic expression. Caretaking is a concept often linked to female gendered professions” or considered being a feminine trait. The duo wants to explore shared bodily practices based on the idea of caretaking, specifically exploring what patriarchal nurturing entails or could become. Papa seeks to create a soft space through an ongoing playful conversation that spills into the audience space, creating room for reflection and resonance. Through Papa, the duo wants to experiment with how identity is shaped in relation to role models and how we might redefine ideas of power and love in today’s society.

Credits:

Dance and Choreography: Halla Ólafsdóttir & Sindri Runudde
Music: Planningtorock
Lighting Design: Jonatan Winbo
Scenography and Costume: Tove Dreiman
Photography: Chrisander Brun, Thomas Zamolo and Tove Dreiman
Assistance and Rehearsal Director: Eli Eli
Outside Eye: Stina Nyberg
Internship and Outside Eye: María Kristín Jóhannsdóttir

In Collaboration With Nordberg Movement
Administration: Interim Kultur
Co-production: MDT – Moderna Dansteatern, Norrlandsoperan and DansIt.
Support: The Swedish Arts Council, Stockholm Region and Stockholm Stad

Documentation by Thomas Zamolo at Moderna Dansteatern, Stockholm March 2026.

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The Swedish poet and playwright Kristina Lugn had a unique literary style which blended the mundane with the profound, romantic longings with pitch black existentialism and sprinkled throughout with a huge dose of humour. “Nattorienterarna” is one of her most beloved plays and could perhaps be described as a Swedish cousin to Becket’s “Waiting for Godot”. This is the first time the play is staged in Teater Brunnsgatan 4 since 1998 when it premiered there with Lena Endre and Pernilla August in two roles of Vera and Bricken (a performance which included live fire effects on stage which allegedly scared the life out of Ingmar Bergman). A new generation of all female cast and creatives have now made their own version of this modern Swedish classic which and received rave reviews for their sold out run earlier this year.

Vera and Bricken are both teachers at the same school and one of them has had an affair with the other ones husband. We meet them in the darkest hours of the night in a suburb somewhere in Stockholm. They were not expecting to meet anyone else there, let alone each other. They are each on a mission to try and navigate trough the darkness armed with a  flashlight and a map. But the night they find themselves in is perhaps better described as a state of mind than an actual place. A state of mind one might need more than a map to navigate, perhaps in these dark times we are currently in we even to put on our armour in order to find the courage to keep moving forward. This is a play about allowing yourself to get lost in language through poetry and the make believe of the theatre. It’s not so much a story about trying to free oneself by escaping from reality, but rather about giving reality itself  wings and setting it free.

Credits:

By: Kristina Lugn
Director: Melody Parker
Performers: Jenny M Jensen, Janna Granström
Set & costume design: Agnes Östergren
Light design: SUTODA
Sound design: Elias Shapiro*
Technician: Kristian Cavdarovski
Pressfoto & Poster : Fredrika  Eriksson

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Parzival by Lukas Bärfuss, after Wolfram von Eschenbach. Directed by Marie Nikazm Bakken. Swedish premiere September 10.
Parzival grows up isolated in the forest with his mother, sheltered from the world and unaware of everything. When he encounters knights, his curiosity is awakened and he sets out on a journey without a moral compass. An epic, grotesque, and humorous story about the search for meaning in chaos.

Cast: Hamadi Khemiri, Elin Klinga, Hulda Lind Jóhannsdóttir, Tanja Lorentzon, Razmus Nyström, Joel Ödmann.

Artistic Team

By: Lukas Bärfuss, after Wolfram von Eschenbach
Directed by: Marie Nikazm Bakken
Set and Costume Design: Julia Herskovits
Music: Christoffer Karlsson
Lighting Design: Christoffer Lloyd
Make-up and Wig: Nathalie Pujol, Frida Ottosson
Dramaturg: Jacob Hirdwall
Translation: Linda Östergaard

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Fake by and directed by Yael Ronen. World premiere September 5.
Can everything be manipulated today and does truth even matter anymore? This question is central as Yael Ronen creates a new work for Dramaten. The production is developed together with the ensemble, and according to actor Lindy Larsson, the only certain thing is that Fake will not be about what we expect. Born in Jerusalem and active in Germany, Ronen had her breakthrough with the play Third Generation and is known for bold, contemporary, and humorous productions about current conflicts.

Cast: Mustafa Al-Mashhadani, Björn Elgerd, Electra Hallman, Bianca Kronlöf, Lindy Larsson, Ia Langhammer.

Artistic Team

Written and directed by: Yael Ronen
Set Design: Wolfgang Menardi
Video: Stefano di Buduo
Music: Yaniv Fridel, Ofer Shabi
Costume Design: Amit Epstein
Lighting Design: Patrik Angestav
Wig and Make-up: Mimmi Lindell
Dramaturg: Irina Szodruch, Anneli Dufva
Translation: Lotta Olsson

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Monday morning in a classroom somewhere. Five students and a teacher gather for a retake exam. The assignment is to answer the question “what does your life look like in 20 years?”… but what do you answer when you don’t even know what next week looks like? Or have to deal with overprotective mothers and gang-affiliated brothers? Will fuckboys continue to ghost us for all eternity? What if life is just an AI-generated infinite loop? Or Jesus returns? Maybe the planet burns up?

Soon, the students are so entangled with one another that they barely hear the shelter-in-place alarm blaring outside the classroom door…

Kris, kaos & katastrof  is a sci-fi comedy for all of us who have ever felt that the world is about to explode. Written by rising playwright star Amar Jašarević, directed by acclaimed Farnaz Arbabi.

A co-production between Unga Klara and Riksteatret in Norway. The play has its world premiere at Unga Klara on October 16, 2026, before going on tour in Norway.

Cast on stage in Sweden:
Nader Attiyah
Hannes Alin
Helen Engida (intern from Malmö Theatre Academy)
Julia Küster
Karolina Mindell Kidanu
Sjur Vatne Brean

Production:

Script/Playwright: Amar Jašarević
Directed by: Farnaz Arbabi
Dramaturg: Erik Uddenberg & Toril Solvang
Set and Costume Design: Jenny Kronberg
Lighting Design: Elisabeth Kjeldahl Nilsson
Sound Design: Leo Goldmann
Make-up Design: Alexander Wernersson
Video Design: Noemi Rombo Zetterlund
Assistant Director and Understudy: Matilda Esselius
Graphic Designer: Parasto Backman
Photography: Linnéa Tammerås

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Chest is a choreography at the intersection of ecology, animality, and masculinity. It folds practices around seeming binaries such as hard and soft, flaccid and erect, hairy and bald, into contradictory landscapes, switching between atmosphere and personhood in trying out ways of being nature to each other.

In an attempt to imagine a different world, Chest searches for a common ground from which new figures can emerge. Creating hybrids that are not cars, but living beings simultaneously moving and being moved, embodying the myriad properties of protagonists, landscape, and atmosphere.

In Chest, Stina Nyberg continues to explore musical horizons, this time collaborating with composer Kaki King, based in New York. King is considered one of the world’s greatest living guitarists, known both for her technical mastery and for her constant quest to push the boundaries of the instrument.

Chest is developed in deep collaboration with dancers Robert Malmborg, Pontus Pettersson and Stephen Thompson as well as the rest of the artistic team Andros Zins-Browne, Kaki King, Jenny Nordberg, Senay Berhe and Thabiso Kubheka Persson in a joint endeavour to stay with the trouble and the joy.

Stina Nyberg is a dancer and choreographer living in Stockholm. Her work is based on the political and social history of the body from a feminist perspective. She is interested in undervalued knowledge, magical practices and the language of power. Chest (Dansens Hus 2024) is the third instalment of Nyberg’s investigation into the assholeness of humanity, previously developed in The Dawn Chorus (Norrdans 2022) and Sweet (MDT 2022).

Credits: 

Choreography: Stina Nyberg
Dance: Robert Malmborg, Stina Nyberg, Pontus Pettersson, Stephen Thompson
Music: Kaki King
Dramaturg: Andros Zins-Browne
Costume, set and mask design: Jenny Nordberg
Light design: Thabiso Kubheka Persson
Film: Senay Berhe
Production: Terry Johnson (Johnson & Bergsmark), Magnus Nordberg (Nordberg Movement)
Residency and co-production: Dansens Hus, The Chocolate Factory Theater and Lower Manhattan Cultural Council (NYC)
Supported by: The Swedish Arts Council, Stockholm stad, Region Stockholm, The Swedish Arts Grants Committee

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A life-affirming dance performance about becoming ill.

Choreographer Nadja Hjorton has created a solo that moves from the deeply intimate to the truly spectacular. CANCER DANCE is her own story — an exuberant celebration of life, even when life is at its most difficult.

When Nadja turned 40, she became a theatre director. And was diagnosed with breast cancer. The performance takes that period as its starting point: a body undergoing change, fear, the loss of control, and cells running wild. But also everything that remained part of life: her children, her friends, TikTok dances in the living room, and unexpected moments of happiness in the midst of chaos.

CANCER DANCE is neither a sob story nor a heroic tale. It is the performance Nadja herself would have wanted to see when she was ill. A solo that, through wry humour, physicality and warmth, seeks to make life feel more vivid.

The music is by artist and composer Britta Persson. The costume is designed by Daniel Åkerström Steen, and the set design by Chrisander Brun, created to evoke the inner world of the body in a playful and surreal way. Produced by Riksteatern.

Running Time: 1 hour

Performer:  Nadja Hjorton

Artistic Team:

Concept and Choreography: Nadja Hjorton
Lighting Design and Set Design: Chrisander Brun
Costume and Makeup Design: Daniel Åkerström Steen
Music Composition: Britta Persson
Dance Dramaturg: Maryam Nikandish

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The multi-award-winning, New York–based choreographer Faye Driscoll has been described as a wild, idiosyncratic postmodern talent. She is now creating her first collaboration with Cullberg — a contemporary dance performance for all senses, featuring fifteen dancers.

About the performance
The performers exist in a state of “separate-togetherness,” navigating a porous boundary between individual agency and collective emergence. The group vibrates into scenes, dissolves into masses, collides in and out of coherence, riding waves of force that rupture stillness into collapse, an ecstatic overcoming.

The architecture reveals itself in layers—soft, hard, sunken, protruding—inviting a destabilized reading of depth, time, and gravity. As the body rides and is ridden by force, we ask: how does a body metabolize the uncontainable?

Faye Driscoll is an American dancer, choreographer, and director. Her works often include unexpected turns, elements of visual art or theatre, and move from realism into fantasy, while inviting audiences to experience everything from joy and exhilaration to discomfort and anger.

Faye Driscoll has received the Doris Duke Award, a Guggenheim Fellowship, a Bessie Award, and the Jacob’s Pillow Artist Award, among many other distinctions. Her works have been presented at venues and festivals such as Tanz im August, Kunstenfestivaldesarts, La Biennale di Venezia, Festival d’Automne à Paris, Melbourne Festival, Belfast International Arts Festival, and the Onassis Cultural Centre in Athens.

One of her recent works, Weathering, premiered at New York Live Arts in 2023 and has since toured across the United States, Europe, and Japan.

Choreography: Faye Driscoll
Set Design: Jake Margolin, Nick Vaughan
Costume Design: Irene Ip
Sound Design: Julia Giertz
Lighting Design: Mira Svanberg
Dramaturg: Dages Juvelier Keates
Choreographic Assistant: Amy Gernux
Performers: Anand Bolder, Andrea Muelas Blanco, Celina Hage, Eleanor Campbell, Girish Kumar Rachappa, Harrison Elliott, Johanna Willig-Rosenstein, Katie Jacobson, Lilian Steiner, Luca Seixas, Lukas Karvelis, Noam Segal, Panos Paraschou, Thamiris Carvalho, Vincent Van der Plas.
Production: Cullberg

Cullberg is part of Riksteatern.

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GOODTHEATRE is a genre-fluid choreographic work by Ludde Hagberg with Tilman O’Donnell, Anna Vnuk and Rudi.

The performance takes place in 2026, seen from the perspective of an imagined reality several decades later. From that vantage point, the present appears as a turning point: a time when humans were beginning to share agency with systems, technologies and other forms of intelligence.

GOODTHEATRE approaches this shift through one of the oldest relationships: the relationship between human and dog. Intimate, collaborative and affectionate, it is also shaped by an obvious asymmetry of power. Who gives the command, who learns, and who adapts?

From this familiar relationship, the work opens onto broader questions of autonomy, intelligence and control, and of what happens when agency begins to move between different actors.

Playful and philosophical, GOODTHEATRE uses choreography to look at 2026 as if it were already history. Rather than imagining a distant future, it turns its attention towards the present and asks what kinds of change may already be taking place.

CREDITS:

Choreographer and director: Ludvig Bildstein
On stage: Anna Vnuk, Tilman O’Donnell, Ludde Hagberg, Rudi
IT-Dramaturg: Daniel Andersson
Light design and tech: Thomas Zamolo
Production: Heta Asikainen, Karin Robérts
Producent (kompani/teater/institution etc): moment:teater

In collaboration with The Royal Swedish Ballet School

With support from the City of Stockholm, the Swedish Arts Council, and Region Stockholm.

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A playful, physical comedy based on the words of Ingmar Bergman.

Ingeborg is a demonic director who never doubts her own talent. She has gathered her colleagues to tell them about her next production: a story of heavy masculinity in a room with red wallpaper. But the demons refuse to cooperate. Ingeborg hears the echoes of former critics, her stomach is torturing her, the tax authorities are after her, and there is a persistent buzzing in the room drives her crazy. Memories of countless disastrous love affairs haunt her, even though she has no real interest in anything other than her masterpiece.

Do new meanings emerge when the male genius is no longer male? 
Exploring, through text and language, the way Ingmar Bergman addressed his colleagues and described his private life began as a humorous experiment. What becomes striking is how casually he describes leaving women, his lack of empathy towards his children, and his total, almost narcissistic, focus on his work.

How do we listen to the “male genius” when that genius is a woman? 

Team:

On stage as Ingeborg: Gilda Stillbäck
Text and Concept: Petra Revenue & Gilda Stillbäck
Director: Petra Revenue
Choreography: Gilda Stillbäck
Lighting Design: Fredrik Glahns
Photo: Lina Ikse

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Three performers of the Latin American diaspora, Jao Moon, Nina Sandino and Ofelia Jarl Ortega, move through a fictional dance floor, where rhythm emerges through their steps. Drawing on personal histories and diasporic memory, the performers connect and disconnect in subtle, playful, exchanges. Casino, as salsa dancing is called in Cuba, reflects on salsa as both dance and cultural projection. The work unpacks identity, clichés and longing, through a dance that resonates beyond its origins.

Contextualising salsa in Sweden

A big Latino boom took place internationally in the 90s and 00s, shedding light on artists like Shakira, Jennifer Lopez, Ricky Martin and Marc Anthony. Of course, there have been Latino booms before and after that too. “Latino” is, as we know, not a genre in itself, as Latin America includes from Chile in the south to Mexico in the north. In Sweden, the early 00s Latino explosion made salsa very popular. Everyone was dancing it, including the Latin American diaspora.

Chilenos have never really had salsa as a national dance. Instead, it was very big in Cuba, Colombia and the Caribbean. There, every dinner ends with salsa dancing, and every birthday celebration is a dance. In Chile, the social dance has been cumbia, or the folk dance cueca. Nevertheless, salsa gatherings among Chilenos became huge in Sweden. The phenomenon grew in Sweden due to the big number of Chilenos living in the country post Pinochet’s dictatorship in the 70s-90s. For the exiled Chilenos, salsa became a way to connect to the Latin American background. It became a subculture within the diaspora. And to be Latino you needed to know how to dance salsa, a cliché that still haunts us in this piece.

Choreographer’s statement

When I first traveled to Chile as a grown up I met the blossoming reggaeton scene, and the feminist subgenre neo-perreo. For some years reggaeton was my connection to Latin America and my own heritage, until I stumbled upon salsa. The salsa music has always been part of what’s been played at home, but the dance had been hidden for me. Now salsa is all on my mind. And my newfound way of connecting to a Latin American diaspora, to be Chilean in Sweden, and to be a second generation immigrant.“

– Ofelia Jarl Ortega

CREDITS

Choreography: Ofelia Jarl Ortega, in close collaboration with the performers.
Performers: Jao Moon, Nina Sandino/caterina daniela mora jara, Ofelia Jarl Ortega
Lighting Design: Johan Sundén
Dramaturgy: Andrea Rodrigo, Quim Bigas
Costume: Erik Annerborn
Photo: Milja Rossi
Trailer: Karl-Oskar Gustafsson
Production: Terry Johnson, (Johnson & Bergsmark)
Co-production: Dansehallerne, MDT, BIT Teatergarasjen
Residency support: höjden studios, Stockholm and Dansplats Skog, Stråtjära
With support from: The Swedish Art Grants Committee, The Swedish Arts Council and Stockholms Stad

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Nothing you make will outlive the week. The world cleans its surfaces every morning – quickly, precisely, almost synthetically. So: one disillusioned pig. One dead writer. One new theatre that vanishes in the very act of its becoming.

There is no script. The piece is written in this room, out of the body of the person standing in front of you. There is no blood either – there was no budget for it. You’ll have to provide that yourself. And remember: the trouble is, you’re not alone in this room.

The play is inspired by Anton Pavlovich Chekhov’s The Seagull.

For full enjoyment, some kind of knowledge is, in fact, necessary.

Trigger warnings: Serbian, irony, nasty, Serbian again, participatory, unknown feelings, maybe sexual

The performance is part of the project Political Loneliness – a collaboration between Sweets & Heartefact. The project has previously resulted in the performance Art & Money by Freja Hallberg, which is now part of the recurring repertoire in Belgrade and has been presented in both Belgrade and Stockholm.

Credits:

Direction: Andrej Nosov
Starring: Nils Wetterholm
Dramaturg: Sofija Dimitrijevic
Sound Design: Vladimir Pejkovic
Light Design: Nemanja Calic
Stage movement: Marija Milenkovic
Set & costume design: Nadja Vukorep
Photography: Marijana Jankovic

Heartefact production

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The meeting between philosopher Friedrich Nietzsche and Richard Wagner marks the beginning of an intense friendship and an equally dramatic falling-out. In this newly written musical monologue by Joakim Sten, actor Jonas Karlsson portrays Nietzsche wandering on a Swiss alpine peak, reassessing a musical genius.

The philosopher Nietzsche based his entire worldview on music. As a young man, he was overwhelmed, both artistically and intellectually, when he met the great composer Richard Wagner. Wagner drew him into his circle, encouraged him to write texts praising Wagner himself, and shaped him into his ideological disciple. But as Nietzsche gradually began to see through his mentor and despise his growing antisemitism, troubling questions emerged: Where would this lead? What kind of world would it create?

In Nietzsche vs. Wagner – The Most Terrible Human Being Who Has Ever Lived, music, philosophy, and text are woven together into a powerful portrait of a man striving to free himself from the greatest genius of his age.

On stage, actor Jonas Karlsson appears as Friedrich Nietzsche alongside opera singers Vilma Skäryd and Philip Hartman, pianist Dmitry Tyapkin, and the Folkoperan Orchestra under the musical direction of Henrik Schaefer. The performance features music by Wagner, Liszt, Nietzsche’s own compositions, and Georges Bizet, the composer to whom Nietzsche turned after his break with his former friend.

The performance is in Swedish and is not subtitled.

Running time: Approximately 100 minutes (no intermission)

Where: Folkoperan
Address: Hornsgatan 72, 118 21 Stockholm