Review: SÖHNE at Grand Théâtre
A show exploring radicalism and identity.
Last week, the Grand Théâtre de Luxembourg hosted Söhne, a contemporary theatrical work that sets out to explore identity, belonging, and the fractures of modern masculinity. Framed through an intimate and at times confrontational narrative, the play intertwines personal testimony with broader societal questions - particularly those surrounding sexuality, generational disorientation, and ideological radicalization. It is a piece that clearly aims to provoke reflection as much as it seeks to tell a story. Here are some highlights.
A commanding central performance: At the heart of Söhne lies a striking performance by its leading actress, who carries most of the play on her shoulders. At times, she becomes a true one-woman show, even constructing dialogues on her own - shifting tone, posture, and rhythm to embody multiple voices. Her direct engagement with the audience adds another layer of immediacy, dissolving the boundary between spectator and performer. What stands out most is her emotional range: she navigates introspection, vulnerability, and intensity with remarkable control, allowing the audience to connect deeply with the narrative’s inner conflicts.
The topics: The play does not shy away from tackling complex and timely issues. The experience of coming out as homosexual, even in 2026, is rightly portrayed as layered and often fraught, reminding us that social progress is uneven and incomplete. Alongside this, Söhne ventures into the unsettling terrain of young male radicalization - an issue that has become increasingly visible in contemporary discourse. By placing these themes within an artistic framework, the production invites reflection rather than prescription, suggesting that theatre can still serve as a meaningful space to process societal tensions.
The all too obvious antagonist: Where Söhne may leave some viewers wanting more is in its exploration of causality. To no one's surprise, Christian tradition and upbringing are to blame. Yes, we can all agree this perspective is not without historical grounding and still leaving its mark in many to this day. But in countries where the redpill movement is winning minds and prejudice against the LGBT community is increasing once again due to specific segments of society seldom related to Catholicism, the author chose to create a tale with an overly safe and uncontroversial villain hardly at the heart of our modern woes. Criticism of the Church with artsy blasphemy done so long after Voltaire tends to leave a certain gauche taste of champagne socialism. Perhaps these two topics, and by extension art and society, could benefit from reflecting about the main reasons why they are currently rising.
As always, our thanks to the Grand Théâtre and the entire cast.
Photo credit: Grete Brenndörfer
Reader Reviews
Videos