A vibrant roadmovie about development and division 

As the November-darkness descended over Nørrebro, the Danish-Ghanaian Hope Amuzue was crossing Dronning Louises Bridge on foot. She was alone, but was followed by a tail of people, as her journey took her around inner Nørrebro.

During two hours in the late evening, the audience followed the 17 years old Hope through the darkness and the autumn cold, while she in continuous movement tried to find clues. As the title indicates, she moved geographically through different environments and encounters, and at the same time towards a new stage in life. As invisible witnesses the audience followed the young woman’s tracks. With their gaze fixed at Hope, they saw what she saw, and equipped with headphones they were, with the help from binaural technique, able to hear her thoughts, feel her trembling breath and witness seminal encounters in the night, while Hope crossed her own tracks and went on new paths. And they witnessed Hopes frustrations on their own body as they, like Hope, didn’t know where they were going.

PÅ VEJ (On the way) was based on talks with African girls in Denmark, who all had one thing in common; they had arrived Denmark to live with one or both of their parents- who already lived here- without knowing, they were to stay for good. The audience meets Hope the day when enough is enough. Divided between two cultures, and with her mother’s expectations hanging over her head, Hope took her jacket and left.

In a long string of thoughts, characterized by a teenager’s vulnerability and clarity, Hope reflected on her life and the surrounding society. Reflections on life as a teenager, but also on division, demands and longings, all elements that helped defining Hope.

PÅ VEJ fought with the issues that almost every teenager tries to navigate in, but at the same time it took hold on the parallel lives, many immigrant girls have, on one hand they live like Danish girls, but at the same time, have to relate to other cultures and often some high expectations from their families. The very division between two cultures- the whish for, and difficulties of integrating them- was central for the performance.

PÅ VEJ received CPHCultures award as the special-performance of the year, while Marie-Lydie Nokuda received at the same occasion a prize for the breakthrough of the year, and Petra Berg Holbek was nominated as the director of the year.


Hope: Marie-Lydie Nokouda
Stella: Nkechi L. Ukpo & Shaniqua Lutta
Rose: Feridah Rose
Effie: Rose Broholm
Charles: Zach Khadudu
Oliver: Gustav Wenzel Most
People in the night: Emilie Eskesen, Julie Lund, Mathilde Hartvig Munk, Silan Maria Budak Rasch, Emma Louise Rasmussen & Frederik Pahus Pedersen
Chorus: The Saving Angels

Director: Petra Berg Holbek
Text: Sofie Volquartz Lebech & Julie Petrine Glargaard
Sounddesign: Pelle Skovmand
Musical arr. & extra sound-editing: Joachim Holbek
Dramaturgic consultant: Tanja Hylling Diers
Lightconsultant: Clementine Waldelius
Scenographic consultant: Martin Eriksson
Photo og grafic: Søren Meisner

Producer: ABER DABEI in cooperation with TEATERGRAD
Premiered: København 9th. november 2015

Supported by: Statens Kunstfond, Konsul George Jorck og Hustru Emma Jorck’s Fond, Bikubenfonden, Knud Højgaards Fond, Nørrebro Lokaludvalg & Københavns Kommunes Scenekunstudvalg

Hope: Marie-Lydie Nokouda

Stella: Nkechi L. Ukpo & Shaniqua Lutta
Rose: Feridah Rose
Effie: Rose Broholm
Charles: Zach Khadudu
Oliver: Gustav Wenzel Most
Mennesker i natten: Emilie Eskesen, Julie Lund, Mathilde Hartvig Munk, Silan Maria Budak Rasch, Emma Louise Rasmussen & Frederik Pahus Pedersen
Kor: The Saving Angels