1.

ANNAMARI: On stage are seven performers over the age of 40 from Lithuania and Finland. Their very presence is one of the driving forces behind the work. There is something truly powerful and moving about it, experience, layers, and depth.

RYAN: This is such a unique gathering of performers. We are seven artists from Finland and Lithuania, and each of us brings a different history with dance and a different way of moving. Because SUPERTHING was developed collaboratively, those differences have not been smoothed into one uniform movement language; they remain visible and become part of the work. There is something very special about seeing all of that experience and individuality sharing the same stage and gradually creating a world together.

AGNIJA: A Finnish–Lithuanian encounter that sparks. On stage, Finnish and Lithuanian performers meet – we’ve skipped the Estonians and Latvians this time! And this unexpected Baltic–Nordic encounter is anything but ordinary. It is vibrant, sexy, playful, timeless and full of colour. Different cultures and physical energies meet, collide and create something exciting.

2.

ANNAMARI: The piece lingers in frozen moments and painterly compositions that interact with Timo Tikka’s magnificent soundscape. Against this backdrop, fleeting gestures begin to reveal new layers of meaning. They remind me of something lost and, at the same time, open up space for something that is still taking shape. Stillness itself acts as a gesture of resistance against constant productivity and the rush that characterizes our time.

RYAN: The piece gives you time. We do not rush from one image to the next; we stay with simple actions and moments of apparent stillness until they begin to reveal their energy. For me, it can be like watching a house being built but in a non-linear progression: separate acts of work slowly construct and deconstruct themselves. Then sound, costumes, and objects shift the picture again, inviting you to complete it in your imagination, take it apart and build it anew.

AGNIJA: Bodies with a story. The performers are mature artists, with years of experience both on stage and in life. Their bodies carry memory, knowledge and experience – and this brings an extra weight and depth to their presence. They don’t simply perform movement; they communicate through everything their bodies have lived through.

3.

RYAN: The work asks some simple but very large questions: What remains after we lose something? What do we choose to carry with us, and who do we travel with? Onstage, we spend much of the performance moving alone, but gradually connection becomes possible. For me, SUPERTHING is not only about loss; it is also about practising hope. When the future feels difficult to imagine, sharing a space where we can slow down, remain open to one another and dream together feels important.

AGNIJA: The human power of Superthing. Perhaps the most interesting thing is to look beyond the idea of the “superhuman”. If we are searching for power, meaning or something extraordinary in life, we may discover that it is actually hidden in something much simpler: our humanity. Superthing invites us to look at the action on stage and recognise that very human, imperfect, experienced and powerful presence – perhaps the real Superthing is simply being human.