At the centre of the story is a family in which dysfunction has become the norm. The parents are violent, yet their children still return every Sunday to share a meal with them.
According to Frank Hoffmann, director of the National Theatre of Luxembourg and director of the production, this reflects a toxic family relationship that many people recognise from real life.
It is precisely this kind of uncomfortable reality, he explained, that theatre should not shy away from showing.
Hoffmann described a household poisoned by an atmosphere created by the parents themselves, who mistreat and exploit their children. He added that even though these children are now adults, well into their twenties or even close to thirty, they continue to come back every Sunday lunchtime to eat with their mother and father. Each of these family meals, he noted, inevitably ends in disaster.
On stage, six actors take on these challenging and controversial roles, guiding the audience through a difficult and emotionally charged subject. Because of its content, the play is recommended for audiences aged 16 and over.
Hoffmann stressed that everything depicted in the play is grounded in reality, adding that the story is based on true events and that the production does not soften what it shows: the violence inflicted by the father, acting on behalf of the mother, is presented openly.
Hoffmann explained further that this violence is neither fictional nor exaggerated, underlining that there are families in Luxembourg living in conditions far worse than those portrayed on stage, but that the play offers a way for audiences to confront and understand such violence through theatre.
In the second half, however, the focus shifts towards hope. The play suggests that victims of violence can find a way forward. Alongside the live performance, video projections are used to jump back in time and show how the family’s situation developed in the past.
Despite its heavy subject matter, Hoffmann said the play has been extremely well received by audiences. He noted that there is often a long pause before the applause begins, as viewers are visibly moved by what they have just witnessed.
Les Voleurs d’Amour runs at the National Theatre until 13 February.
