Teatri Oda, premiere 23 May 2025
Recounting a crime committed in the aftermath of Kosovo’s war, The Premeditated Killing of a Dream tells the story of renowned Prishtina urbanist Rexhep Luci, murdered for vehemently opposing illegal construction in the city. Set on stage, this account is one that invites both reflection and introspection.
The play starts with the cast listing facts about Rexhep Luci: his 30-year contribution to urban planning at the municipality of Prishtina, his struggle to implement a proper urban planning system, and the insurmountable challenges he encountered. ‘Rexhep Luci was the dam. His murder brought the flood’, is one of the opening statements.
The Architect’ (Armend Smajli) is excited about the new city plan, which includes parks, playgrounds, and green spaces. His daughter (Verona Koxha) is lively, affectionate, and constantly worrying about her father. But he doesn’t mind. He has a solid plan and he believes in it. Everyone applauds him, the diplomatic UN local administrator, the supportive colleague, even the sceptical contractor. But behind the scenes, they conspire to the contrary. These secretive exchanges are foregrounded by the words ‘Experience Prishtina!’ – an explicit reference to the motto of Prishtina’s current mayor. In reality, the present state of things in Kosovo’s capital is anything but the promised vision of a clean and green metropolis. The actual experience of the average resident in the capital is an environmental catastrophe, swarming in garbage, suffocated by traffic and fumes.
The French UN administrator, Pierre (Shpëtim Selmani), glorifies Prishtina. Drunk with power and privilege, he is on a trip that only he seems to be on. The contractor Meti (Kushtrim Qerimi) cheers him on, with a greedy vision of what the city ought to look like – apartment buildings and luxurious malls. Meanwhile, the President of the Workers’ Trade Union, Shaban (Afrim Muçaj), is a principled man planning rallies against illegal constructions. His metamorphosis is alarmingly swift, going from avid opposition to illegal constructions into mellow acquiescence when handed the keys to a free apartment.
The Architect’s hopes begin to slip away, as his trust in the UN administration is replaced with the sad realization that his plan will never be approved. The images captured through his smart glasses are projected on screens, like windows to his soul. The audience sees exactly what he sees and almost feels what he feels. The pain is palpable, and it lingers long after he is murdered. Closing scenes include an imaginary father-daughter moment in the afterlife, while lit-up inflatable mushrooms fill the stage peacefully. He is at peace, but will there be peace for the city he loved? As unsettling images of Prishtina run in the background, the actors sing a sad song about the urban dream that never materialized, a melancholic lament.
The astute directorial hand of Blerta Neziraj is unequivocal. In this hard-hitting production, she stays true to form, not afraid to break the fourth wall, as the characters recite facts about Rexhep Luci’s life, his legacy, and his brutal murder which is still unsolved. This production adds to the list of successful collaborations with husband, playwright Jeton Neziraj, her direction displaying a deep understanding of the play’s mission. This feeds every aspect of the performance.
Prishtina: The Premeditated Killing of a Dream. Photo: Noar Krasniqi
In his main role as the Architect, Armend Smajli brings a sense of desolation to the role. Clad in a crisply ironed shirt and vest, he is the image of decency but is ultimately doomed. Smajli is not afraid to bring a soft boldness to the memory of Rexhep Luci. Alongside him, Verona Koxha radiates kindness amid chaos and uncertainty – a skill she has honed with emotionally charged roles in the past, with her performances in plays like Molly Sweeny. Here Koxha’s character walks the line between career woman with dutiful daughter who deeply cares for her father.
Shpëtim Selmani plays the decadent UN representative, seemingly admired and respected in post-war Kosovo at a time when the UN represented safety and hope. ‘I want peace, not conflict’ he declares, with ostentatious ease, while dealing dirty without a shred of scruples. Selmani owns the stage like the seasoned pro he is, with his resounding voice and reassuring posture.
Kushtrim Qerimi also impresses as the contractor, the epitome of smooth greed in times of transition. With an inflated attitude, he envisions a city of soaring towers regardless of the dire consequences. Afrim Muçaj plays the President of the Workers’ Trade Union, who is quick to defect from his principles at the first sight of free stuff. With dexterity, Muçaj promptly channels the vigour of a union representative into spiritless assent, in the sole interest of easy personal profit.
Set designer Alice Vanini has wrapped the stage in garbage bags, the shimmer of black plastic a menace to all. Projections screens hanging from the ceiling show disturbing shots of Prishtina’s mangled urban sights. The involvement of costume designer Njomza Luci is the apropos choice for this production, as she is the daughter of the late Rexhep Luci. Every costume matches the traits of the characters, like Pierre’s satin robe, Shaban’s old but neat suit, as well as Meti’s designer suit.
The play is a reworking of Neziraj’s earlier play In Five Seasons: An Enemy of the People which was initially staged in 2019, inspired by Ibsen’s play, where Dr. Stockmann goes through a similar ordeal. Explicit references to the current environmental state of Prishtina city in this new version are abundant; Neziraj’s updated play is at once an outlet for grief and a rallying cry.
To crib from Whitman, Kosovo’s vibrant capital contains multitudes. For the past couple of years, its youth-oriented, activity-packed, fast-paced life has been grappling with urban and environmental turmoil of unprecedented proportions. The play is clear in its message to local institutions. And the motto this time might as well be ‘We are what we breathe!’
Author: Jeton Nezirajj//Director: Blerta Neziraj // Set design: Alice Vanini // Costumes: Njomza Luci // Composer: Tomor Kuçi // Choreographer: Gjergj Prevazi // Video: Besim Ugzmajli // Ass. Director: Gëzim Hasani // Art Director: Aurela Kadriu // Researcher and artistic collaborator: Agron Demi & Instituti Atlas // Dramaturg: Jeton Neziraj
Cast: Armend Smajli, Verona Koxha, Shpëtim Selmani, Kushtrim Qerimi, Afrim Muçaj
For more information, visit: qendra.org
Bora Shpuza is a literary translator and freelance art reviewer based in Prishtina,
