TEHRAN – Swedish playwright August Strindberg’s 1887 tragic drama, “The Father”, has resumed performances at the Shahrzad Theatre Complex in Tehran following a pause caused by recent Israeli strikes on the Iranian capital.

The opening shows are being offered free of charge as a gesture of respect to theatergoers in Tehran. 

Vandad Sadeqi is the director of the play translated into Persian by Javad Atefeh. 

The cast includes Yasaman Fanayian, Samin Afshar, Mehdi Eskandari, Hooman Soleimani, Mahsa Tadayonfard, and Armin Eftekhardzadeh.

“The Father” (Swedish: “Fadren”) is a naturalistic tragedy, which explores the intense and often destructive struggle between parents over the future of their child, highlighting themes of power, manipulation, and the conflict between individual desires and societal expectations. Through its compelling characters and dramatic tension, “The Father” vividly portrays how cunning and psychological manipulation can undermine even the most supposedly stable relationships, leading to tragic consequences.

The story centers around Captain Adolph, a cavalry officer, and his wife, Laura. They clash over how to raise their daughter, Bertha. Laura envisions Bertha remaining at home to pursue art, believing in nurturing her creative talents. In contrast, Adolph insists Bertha should move into town to study and become a teacher, asserting his authority by claiming that, as a husband, he has the final say—arguing that marriage entails relinquishing certain rights, as the law supports his stance. The dispute quickly escalates into a fierce confrontation, revealing underlying tensions and contrasting worldviews.

Laura, clever and manipulative, employs deceit to undermine her husband's authority. She falsely informs the family doctor that Adolph is mentally unwell, claiming he believes he has discovered extraterrestrial life through amateur scientific pursuits. In reality, Adolph has indeed made scientific discoveries—signs of organic life in meteorites viewed through a spectroscope. Laura further manipulates the situation by revealing to the doctor that she possesses a letter in which Adolph confesses to fears of losing his sanity. These lies entrap Adolph in a web of deception, fueling his frustration and leading him to respond with violence—he throws a burning lamp at Laura as she leaves the room.

This act of violence marks his downfall, as Laura’s cunning provokes him into an irrational act, which she then exploits to have him committed. The play intensifies as the captain is restrained and placed in a straitjacket, with the household's spiritual and religious tensions coming to the forefront. An old nurse, Margaret, gently convinces Adolph, now maddened, to accept the straitjacket, highlighting his tragic loss of control. Meanwhile, Laura’s strength and cunning are emphasized, with the captain lamenting her ability to hypnotize him even when awake.

The climax culminates with Adolph suffering a stroke and dying, as Laura exclaims, “My child! My own child!” and the pastor utters “Amen,” underscoring the tragic culmination of manipulation, mental collapse, and familial breakdown.

“The Father” delves into themes of gender dynamics, power struggles, and societal influence. Reflecting Strindberg’s personal life—his tumultuous marriage and exposure to various religious and spiritual beliefs—the play reveals how social and cultural forces shape human relationships. It also alludes to classical mythology and literature, including references to Greek gods and Shakespeare’s “Hamlet” and “The Merchant of Venice”, further enriching its exploration of human nature and conflict.

SAB/