Two individuals – a young fifteen-year-old boy who claims that he has killed and eaten his parents, and his Therapist – converse, playing a game of roles and limits. The boy (known as Little Humlet in the psychiatric institution he is in), with overdeveloped mental capacities, seeks to return to the bowels of the Earth, to the frozen and frigid eternity. The Therapist (or is it God?) is trying to impose an order on the boy’s speech: it is not possible for anything the boy says to be valid. Both get involved in a perpetual game of collision between ignorance and knowledge, being and seeming, faith and infidelity – with the latter constituting the play’s cornerstone. By common consent, they construct and deconstruct their carnivorous transformation game, their terror towards life, their agony to exist in a hard world.
Humlet, (with the not-so-random subtitle hunger for two persons in two acts) is a science fiction work that reconstructs the Shakespearean Hamlet by changing the direction of the motion: here, the ego does not dissipate in the external world (as in the Shakespearean one), but the outside world concentrates in the “I”.