A man and a woman collide with each other, the world around them, but above all with themselves. They support each other, but also hold each other in a stranglehold. They both have rather strange traits, yet they have a relationship to be jealous of. The two look to each other for stability and recognition, use each other as opponents in their own created worlds, or stoically ignore each other in search of inner peace.
Stella Maris is a performance in which even the least important aspect of existence is melted down into enormous hilarity with extraordinary mastery. As if an ordinary dream turned into an old-fashioned classic Vaudeville.
The strength of Stella Maris lies in the serious yet light-hearted interpretation of a man’s relationship with Borderline disease. What makes you smile one moment is deeply moving at the same time. Jakop Ahlbom loves precision, there is no outburst on stage. The male-female relationship is expressed through series of movements, yet there is no physical tension at all. Without extravagant acting, striking origins or solos, it becomes clear what Jakop likes: balanced theatre.
In Stella Maris, Jakop Ahlbom’s penchant for magic tricks comes to the fore. This is expressed in the manipulation of objects and props, but also in his interpretation of fierce images that appear out of nowhere and transform into the opposite.