Living on

Is it really worth living on after an event that is going to be the reason your life turns out the way it does?

When you're going out on the town, on a date or celebrating turning a year old, or surviving another year? Regardless of the trauma and the endless thoughts of dying again, a girl who was only 17 years old when the terrorist attack on Utoeya took place finds out after 12 years that it is worth living on, and as I said, it doesn't come for free. The 1 hour and 10 minute monologue from the perspective of a sister who lost her brother and was at Utøya herself, deals with the event itself, precious memories and not least how it is to live on.

Deals with the decisive event and life afterwards

The very first thing the audience witnesses when the production starts is the actress pacing the stage while repeating a calming breathing technique she learned from her brother. Thus, the show started right with the terrorist attack that summer day in 2011, and in medias res, which meant that the tension was up the second the show started. We later learn that this was only the start of the event that really made an impression on the main character. The protagonist lost her brother when they fled during the terrorist attack and was alone until two policemen found her. The actress narrates and describes how her sister had to hide until dark and pee herself to keep warm. She conveys the fear and terror very well, but all she can think about is what has happened to her brother. We eventually learn that her brother was seriously injured and her sister only recognized him by the unforgettable tattoo of a dragon that covered his entire leg.

Later on, the sister experiences something she will never forget; walking into the room where her brother lies ready to die. Her entire experience of the day her brother died is revealed in the play, and the loss she feels for her brother is evident in her future experiences. She doesn't want to be seen as the one who survived Utøya, which is why it doesn't come out when the protagonist meets new people, but this is also one of the reasons why we see her struggling with all the traumas she keeps inside herself. It even seems like it ends more new relationships and friendships than it creates new ones. In addition to this, the performance consists of a bit of a sound and light show. During the production, it varies where the lights shine and how much brightness is used. This makes it easier to focus on where the main character is speaking from, as well as to understand the situation she is in - when the main lights are switched off and the light only shines from the tent where the main character is, for example, it can be thought of as a kind of reflection, while when the whole stage is lit, it is often a situation that is recreated and has happened in the context of July 22. The production also played melodies and soundtracks, such as heartbeats and the sound of breathing, which made the performance more vivid in addition to the advanced and good acting.

The stage design carries memories

The production started with the actual experience of 22. July, but continued with elements and memories of frustration and grief. So wherever the stories took place, it was on the same stage under the same scenography. It featured a tent, to illustrate that this was actually a summer camp on Utøya, other hiking equipment, including sleeping bags and lights to illuminate the stage. The props were used during the performance, for example by spreading out sleeping bags, helping the audience to imagine the situation and how an innocent camping trip could turn into dead bodies as far as the eye could see.

The repetitive set design, and the fact that it took place in a studio scene - a fairly simple scene, often in black - allowed me to interpret the protagonist's experience. Regardless of what was being said and where the protagonist was mentally, the set design was the same, or that she was still on Utøya Island mentally. In other words, she had not yet let go of the traumatizing experience, including the death of her brother. During the performance, we follow the sister as she comes to terms with the death, but I think this may symbolize that we are following her train of thought and where she is mentally. At the end of the monologue performance, we learn how the protagonist is feeling today and she ends by untying the tape attached to the floor and stepping out of the box she had put herself in since the summer of 2011.

Touching and strong acting

To say the least, the play made a big impression. As someone who practices theater one to several times a week, the play was one of my main focuses during the performance, and since it is a monologue, the play becomes especially impressive. After the performance, I can say that I felt like I knew the main character personally, at least her story, because of the vivid acting. The monologue also revealed that the protagonist's feelings and concerns were unknown to friends and family. The actor played the character in a youthful and engaged way, which brought out a strong personality in the play and made it easier to relate to the youthful experiences when the actor presented them with commitment and emotion. Or it was clear that strong emotions came out. The play has a serious theme, which comes across as more than serious when you hear it from someone who experienced it. When the darker memories and traumas emerged in the play, we were met with a performance that contained real tears, both from the actor and the audience, and big words and shouts, reminiscent of a desperate need for someone to hear about the situation the protagonist was in and the thoughts that came with it. In short, the play was real and moving, with impressive performances. In the end, I felt so affected that, for a little while, I could only focus on how the actor's tears landed on her sweater.