Theatre Review "Blåögd"
History is a chain of intertwined events. Yet very few people could imagine that an event that took place in Memphis, USA, in 1968 could somehow be connected to Uppsala, Sweden, in 1758. These two events — the death of Martin Luther King Jr. and Carl von Linné’s 10th edition of Systema Naturae — might seem worlds apart, but they are linked through the theme of how humanity classifies and divides itself. The connection continues through Jane Elliott’s “Blue Eyes/Brown Eyes” experiment, born out of King’s assassination, and Linné’s classification of humans into racial “varieties”: white, brown, red, and black, each with supposed character traits.
The parallels deepen when we move once again to Uppsala — not to Linné’s time, but to the period between Linné and King. The missing link in this historical chain is the medical doctor Herman Lundborg, born 90 years after Linné’s death and 100 years before King’s.
Judged harshly by posterity, the controversial and paradoxical Dr. Herman Lundborg saw himself as Linné’s successor. Inspired by Linné’s ambition to bring order to nature, he took the idea further — with chilling consequences. In 1922, through Lundborg’s initiative, the State Institute for Racial Biology was established in the small university town of Uppsala.
It is essential to place Lundborg in his historical context: born in 1868 and dying in 1943, he lived through an age when science advanced for both good and ill — the height of European imperialism and colonialism, when white supremacy was taken as an unquestioned truth. Lundborg contributed to, and was shaped by, the era of “scientific racism.” He and his contemporaries were genuinely convinced of white superiority.
Now, imagine all these historical threads woven into a single theatre play. For history enthusiasts and anyone interested in the topic of racial discrimination, that would be pure gold — though undoubtedly a challenging task to stage. Yet playwright Ulf Ohlsson and his amateur theatre group Teatersällskapet i Järfälla accomplished just that, producing a remarkable play and delivering it successfully to the public. When I say “amateur,” it is not to diminish their artistry, but to highlight their dedication as hobby actors performing in their free time. Despite this, the entire troupe delivered a performance of professional quality — led by Karin Sandell as Jane Elliott.
To my taste, the performances of Niklas Strandqvist (as Carl von Linné and Herman Lundborg) and Christel Eldrim (as Thyra Lundborg) were absolutely outstanding — truly irreplaceable in their roles. I was also particularly impressed by Johan Martinsson (as Apostel and Tommy) and Dag Hellström Klintrot (as Jane’s father and one of the teachers).
The play consists of two acts, each lasting about an hour, shifting between three time periods — the era of Martin Luther King Jr. (through Jane Elliott), Herman Lundborg, and Carl von Linné. To a large extent, the story centers on Jane Elliott’s experiment, while the scenes with Lundborg draw parallels to Sweden’s own history of racial classification.
Despite the seriousness of the subject, the play is suitable for both adults and school-aged children. It blends humor and wit, creating many moments of laughter that make the message more approachable.
I discovered this play quite by chance — through the historian Maja Hagerman, researcher, expert, and author of a major biography of Herman Lundborg. Hagerman, one of my favorite Swedish historians, has written numerous works spanning different eras. Playwright Ulf Ohlsson even organized a discussion panel with her, focusing on her research and on Lundborg himself. It was an excellent opportunity for the troupe to ask questions and better understand the people they were portraying.
During that discussion, the organizers announced a surprise appearance by “a celebrity.” Suddenly, two people entered the stage mid-conversation, speaking loudly and dressed in peculiar costumes. It took me a moment to realize this was part of the performance — not a real disruption! Apparently, someone — or perhaps a group — had been targeting the play’s posters and tearing them down from public notice boards. But this was part of the show, and these scenes featured Niklas Strandqvist and Christel Eldrim, whose chemistry and natural dialogue were exceptional. After that glimpse, I eagerly awaited their full appearance in the play.
The subject of Herman Lundborg is undeniably heavy, and the best way to handle it is through a touch of humor — which this play does skillfully. It never glorifies Lundborg; instead, it exposes the absurdity of his beliefs, which he and his contemporaries regarded as scientific truth. It reminds us that these ideas were not the product of one “mad doctor,” but supported by the highest levels of society — including figures an ordinary Swede might never expect.
Lundborg himself is a complex figure. The Sámi people whose bodies he measured and photographed for “research” often saw him as helpful, as he provided medical advice and prescriptions — and even gave them copies of their portraits, a rarity in northern Sweden at the time. Despite warning against “racial mixing,” Lundborg impregnated his Sámi assistant, Maria Isaksson, something impossible to conceal in small-town Uppsala, later marrying her and acknowledging their son
Today, we view Lundborg’s photographs as sinister and humiliating, especially for the descendants of those depicted. The photos themselves are not evil; they have historical and ethnographic value. The real problem lies in how people were labeled — reduced to “types.”
Posterity judges Dr. Lundborg. Those who know little about him judge harshly; those who have studied him, perhaps through Hagerman’s book, may judge more cautiously. He devoted his life to science, often at the expense of his family. But after all his data, measurements, and thousands of photographs — what did he truly achieve? What was his purpose?
In the play, a small girl appears across different time periods — in both Linné’s and Lundborg’s worlds. Without revealing too much, I will say that she plays a key symbolic role. Her presence, and the allegory she embodies, one that may hold the answer to the question above.
Neither I, nor Maja Hagerman, nor the theatre troupe seeks to glorify Herman Lundborg. History is what it is — and we can only retell it, to remember and learn from the mistakes of our predecessors, even scientific ones.
My final verdict: everyone should see this play. It is both informative and educational, and despite its heavy topic, suitable for children. It teaches about discrimination, but also about the darker side of science and history. Artistically and technically, the entire team did an excellent job.
I must admit, I had never heard of Jane Elliott before seeing this play. Only afterward, as I was leaving, did I ask Ulf Ohlsson about her — and he told me that she is a real person, and, astonishingly, still alive and aware of the play.
The next performance
For those who don’t want to miss the final opportunity, the play will be performed in Stockholm, Jakobsberg, on October 18th at 18:00. Tickets can be purchased online or directly at the venue.
Cast (Rollista)
Jane Elliott – Karin Sandell
Carl von Linné / Herman Lundborg – Niklas Strandqvist
Jane’s Father & Teacher – Dag Hellström Klintrot
Jane’s Husband & Dahlberg – Thobbe Andersson
Apostle & Tommy – Johan Martinsson
Judy (Jane’s Sister) – Sarah Ehrenberg
Thyra Lundborg – Christel Eldrim
Maria Isaksson – Sofia Fjellsten
Teacher & Märit – Anna Svedberg
Leo – Lucho Villalobos
The Little Girl (Den lilla flickan) – Vera Ahlgren Strandqvist
Pupil & Teacher (Lärjunge & Lärare) – Sofia Fjellsten
Pupil (Lärjunge) – Camilla Larsson
Pupil (Lärjunge) – Sara Bill
Listerlänning & Guard (Vakt) – Camilla Larsson
Listerlänning & Sámi – Sara Bill
Listerlänning & Guard (Vakt) – Thommy Andersson
Student & Pickpocket (Elev & Snattaren) – Erik Dorohova
Bill – Bupe Pihlblad
Athena – Zunnaira Beenish
Customer & Student (Elev & Kund) – Ninjin Erdem
Customer & Student (Elev & Kund) – Saria Mubashir
Student (Elev) – Sofia Kvamich
Customer & Student (Elev & Kund) – Laleh Pihlblad
Joe – Abrahim Demir
Customer & Student (Elev & Kund) – Zaron Azeem
Production Team
Playwright, Producer & Director (Manus, Producent och Regi): Ulf Ohlsson
Scenography & Props (Scenografi och rekvisita): Anna Weitman
Costume (Kostym): Sofia Fjellsten, Anna Svedberg
Economy & Marketing (Ekonomi och marknadsföring): Niklas Strandqvist
Stage Support (Registöd): Johan Martinsson, Dag Hellström Klintrot
Lighting (Ljussättare): Vincent Eklund
Prompt (Sufflör): Rick Hasselqvist
Light & Sound (Ljus- och ljudteknik): Lars Holgersson, Sebastian Gustafsson, Thomas Atterbom, Ulf Ohlsson
Make-up & Wig (Mask och peruk): Zunnaira Beenish, Christel Eldrim
Photography & Program Design (Fotograf och programdesign): Christel Eldrim, Thomas Atterbom
