Conference of lost empires

Behind closed doors, in exotic and secluded locations, the world’s most powerful gather: billionaires, politicians, influencers. They discuss global economics, security policies, technology, and more, surrounded by mysterious codes and rules. Naturally, this fuels countless conspiracy theories.

But the balance of power is shifting. The image of the West as the undisputed center of power is fading, and many are struggling to adapt to their loss of status. In a secluded spa resort in Finland, a group gathers for a therapeutic course: learning to let go. These are the people who once had the power to prevent wars and build capitalism. Now, they have lost everything and are grappling with a sense of freefall. They mourn, heal, and try to remember what was lost: the great times, when great empires ruled.

In a luxurious Finnish sauna, a tragic farce unfolds. On stage, participants practice the art of giving up power. There are therapeutic exercises on loss, corridor conversations trying to pinpoint where it all went wrong, and healing sessions. A translator works overtime, karaoke is sung, the sauna is heated, and flashbacks to glorious times alternate with explanations of the new empires on the rise.

Over the course of the performance, apathy transforms into proactivity, self-pity into restored self-esteem, and nostalgia into action to reclaim lost futures. Eventually, the layers of reality begin to seep into the fiction.

In the second part, it becomes clear that the staff caring for the guests are people with post-colonial lives who have experienced loss. It becomes a documentary work, performed by non-actors who take to the stage and share their own stories of exploitation.

In the third part, the audience becomes part of the performance and the conversation about power and privilege. They take the stage, assume roles, and consider: what power are they willing to give up?

In the press about predecessor 'Dark Noon': "One of the most ambitious and fearless pieces of theatre to be presented at the fringe in the past decade." - The Stage