The heartwarming innocence of the Guardians of the Gods

In a society where many children face neglect, mistreatment, or even exploitation at the hands of those closest to them, the Guardians of the Gods makes a strong attempt at helping children realise their strengths, even when things feel incredibly out of control.

This play is a fascinating product of the unique and creative talents of artists from eleven different nations. But the final execution of this play remains unique in each of the 11 countries, with the script capturing the lives of children in their respective cultures and languages. 

The Swedish government has funded this production, and with the original work written by Erik Uddenberg, this play has been translated and adapted by Prajna Tasnuva Rubayyat for the Bangladeshi audience.

This play is about children and the experiences they have while growing up in a world where they have very little control. So, actors Toufikul Islam Emon and Nahida Akhter Akhi take on the role of two shapeshifting characters who transform into different child characters to capture their unique stories.

"Their magical transformations allow us to explore children's complex relationships with adults, and the many ways young people navigate, resist, and communicate in a world often dominated by grownups", said Emon.

Held at the La Galerie of Alliance Française de Dhaka on Saturday, the set design only included a chair, a suitcase and a gallery wall lined with artworks of little children. Each artwork was labelled with a sweet post-it note with a few words from the artists.
This could give the impression that it was merely a children's play, but while it was designed with young audiences in mind, its storytelling is sure to stir memories of your own childhood.
The suitcase was used to bring out some props and layers to their costumes that were becoming increasingly magical-looking, inciting more curiosity and excitement, especially among the children.
The actors deserve immense credit for making every moment of the play delightful to watch. Their dialogue delivery and movements carried charisma and energy without slipping into the typical over-exaggeration often used to portray children. Instead, they skillfully captured the genuine personas and body language of the children we once were—and once knew so well.
Erik Uddenberg breaks the conventional storytelling of familial stories by redefining the norms that have heavily restricted such stories. The children in these stories are living in single-parent homes or with their grandparents, in addition to the general two-parent families. This inclusive nature makes sure no child ends up feeling unnoticed and unheard.

The children are also not written in the typical one-dimensional way they are used to being shown. They are innocent and naive, but also capable of being unexpectedly emotionally mature when they need to be. One of the stories was centred around a girl who was living with just her mother. And despite being very young, she understood the grief and hollowness her mother was experiencing. 

"I related to the little girl because I know what it is like to be that little girl. I always felt emotionally responsible for the mental well-being of my mom and tried to make her happy by talking my heart out to her. When I saw that performance, I was immediately taken back by how real the play suddenly felt," explained Kazi Tasfia Rodoshi, one of the viewers present at this play.

In one of the final performances, Nahida Akhter Akhi delivered a deeply unsettling portrayal of a young girl's fears after experiencing abuse by a trusted family member, capturing the intense hesitation she feels about confiding in someone close. The story unfolds with Emon's character gently but persistently reassuring her that opening up to a loved one can be an important step toward healing.

The writing made sure every child leaves this play with more courage to talk about the things that are too hard to deal with alone, and that is an incredibly important message that children do not get to hear enough.