By Borisav Matić
The title of the play by the Duško Radović Little Theatre from Belgrade, In the Ceiling the Stars are Shining, sets the stage for a nostalgic reflection by the protagonist, Jenna, on her carefree childhood—symbolically represented by plastic, glowing stars on her bedroom ceiling. Throughout the story, Jenna often recalls that gentle glow, using her nostalgia for a more peaceful time as a way to temporarily escape a sometimes harsh present. Growing up is hard on everyone, but especially so for Jenna, given her family circumstances.
As a well-established genre aimed at a broad audience—primarily older children and young people in this case—coming-of-age stories usually follow familiar conventions. They depict adolescence as a challenging, sometimes even traumatic period, but one that ultimately leads to maturity and overcoming difficulties. Along this journey, peer friendships that help shape one’s identity are almost inevitable, as are first crushes and increasingly complex relationships with parents. All of these elements are present in In the Ceiling the Stars are Shining. But what elevates any coming-of-age story from a generic example to a uniquely crafted work of art lies in the specificity of character relationships. In this case, it is the protagonist’s relationship with her mother, who is battling breast cancer, which gives the story its distinctive emotional core.
The production is based on the novel of the same name by Swedish author Johanna Thydell, with the stage adaptation by Tijana Grumić, who has previously explored similarly nuanced tales of the pain and beauty of growing up in her plays (Kepler 452-B, The Loneliest Whale in the World, and Stains, among others). The moving direction is by Damjan Kecojević, a member of the theatre’s acting ensemble. The play moved part of the audience to tears at its performance during the Novi Sad Theatre Festival.
In the Ceiling the Stars are Shining deserves praise for tackling a topic still considered taboo in some circles: breast cancer. The mother’s illness not only forces Jenna to grow up quickly but also confronts her with so-called “negative” emotions such as sadness, anger, and even shame—like when her mother, shortly after chemotherapy, shows up at a school party. The play does not pass judgment on Jenna’s shame; rather, it treats it with understanding, recognizing it as a necessary step in her emotional development.
Historically, coming-of-age narratives—particularly bildungsromans—have been reserved for male protagonists, with female stories gaining ground only in recent times. For that reason, the theatre's choice to bring a story with strong, complex female characters to the stage is also commendable. These characters are convincingly portrayed as both strong and vulnerable, lending them depth and authenticity. Besides the mother, Jenna’s world is most shaped by her grandmother and two school friends, although her first crush also plays a significant role.
The creators add further complexity and diversity to the female experience by choosing to have Jenna portrayed by three actresses. Mina Nenadović plays the teenage Jenna, marked by a mix of youthful volatility and melancholic introspection. Julija Petković plays the older, more composed Jenna, who also serves as the play’s narrator and a kind of guiding voice to her younger self. (Drina Kecojević appears briefly at the beginning and end as the youngest version of Jenna, though the intent behind this brief portrayal remains somewhat unclear.)
The rest of the cast brings their characters to life with a measured, and perhaps necessary, touch of caricature—adding humor for the younger audience while keeping the focus on Jenna’s inner world. From Lana Adžić as the overly nosy classmate, to Filip Stankovski as the "diesel" friend Stefan, and Mladen Lero in the minimalist role of Jenna’s crush, each character serves their purpose well. In some cases, these character types evolve over time—such as Jenna’s friend Ulis (played by Nevena Kočović), who initially appears as a stereotypical popular, sexualized girl but is later revealed to have a vulnerable side due to her relationship with an alcoholic mother, along with her empathetic bond with Jenna.
Though the play runs just 75 minutes, it can feel slightly too long. The narrative starts to drift in the second half—just when the audience is expecting the emotional crescendo that is ultimately delayed. Nevertheless, in theatre for children and youth, the immediate and genuine reactions from the audience can often be a better measure of a play’s impact than in adult theatre. The rapt attention of the audience during the Novi Sad Theatre Festival performance, their enthusiastic and vocal reaction at the end, and the tears visible in some eyes, all attest to the powerful emotional resonance of In the Ceiling the Stars are Shining. Minor criticisms pale in comparison.