When Mattias Andersson took over as artistic director at Dramaten, it was with a clearly stated question.

What does it mean to be a national stage, to be the whole of Sweden's stage in a polyphonic, multifaceted and segregated society?

How can the theater become an issue for and represent all Swedes in one way or another?

Shortly after the accession, the theater closed in a pandemic and when it now reopens after eighteen months, it is with a multi-voiced performance with a distinct Andersson voice.

The last minute does not offer a streamlined narrative, dramatic curve or any unambiguous message.

On the other hand, there is an honest, compassionate and serious curiosity about the great questions of life and man.

As an actor,

being asked what you want to do with a last minute on the Drama's big stage has obviously aroused emotions.

Someone does not want to participate at all, someone is filled with performance anxiety, someone completely sonic asks their daughter, someone hands over their minute to someone else in the belief that it will be better that way.

Poems, songs, dramas, dance - everything fits here and probably a theme, a direction will eventually be discerned.

Yes, time is of course a key player, partly visually with Ulla Kassius' digital numbers that count down the seconds in the fund, but here it is about time also seen from the larger perspective. Ingela Olsson's and Stina Ekblad's observations both show how certain times in life are more alive than the current ones. How a place can bind times together despite fifty years of difference is illustrated in Per Mattsson's story about his very first failed minute (in Mimi Pollak's Tartuffe) on the Big Stage compared to the present.

Andersson and his ensemble

have created a kaleidoscope where each displacement of the gold-framed rotating scene brings a new perspective of reality to light.

Here we meet the dysfunctional families, the gang shootings, the invisible Uberbuds, the many different languages ​​that resound in our country.

Here we meet the longing to laugh and attract laughter, to love and to be loved, to play the big roles or to have the quiet supporting roles at the center.

Here are alternately fights about space, alternately in unison and unanimously.

If the theater is the tiles that represent the world, a rich, lust-filled and sometimes sprawling world is shown here, where all power is taken from the collective.