Earlier this year I was exhausted About the failure of Norwegian theater to bring the crisis of nature and climate to the stage in a way that was known to be credible.
My performance did not elicit reactions. Hardly anyone objected. And no wonder, because the climate crisis affects our prosperity, it requires us to change fundamental conditions. How do we deal with oil, for example.
But in recent months, the oil has been seen on the theater poster several times. the two in Stavanger And the Oslo. Also the surrounding controversy Project waste It is mostly about what the oil money is going for.
In a deeper sense, oil can be thanked for the flourishing and licensing of contemporary art.
No razor sharp
Now in Haugesund they are putting the Norwegian oil adventure under the microscope.
“Oil – a musical” starts from the original. Shoe players wear ballet shoes and toga-like towel creations. The theme is nautical, and the technical tools are well used.
Red swimming feet, lifebuoys, swimming rings, beach balls and flashlights are used innovatively and effectively throughout the entire presentation.
The choreography is lively and fun, even if the space on the stage is crowded.
The entire first part has a sense of presentation, but “Oil” doesn’t quite find the rhythm as the insight.
The musical is fully composed, sometimes rhythmically complex, and requires the group to sing some parts.
Not everyone delivers sharp sounds. Anyway, not if one is going to put the list on the Folketrite level. But there are also some great deals here.
The play is written by Swedish playwright Klaas Abrahamson, who is behind such hits as “Evig ung”, “My venn fascisten” and “Arbeiderpartiet – the musician”.
Former Teater Ibsen theater director Thomas Bye has started many of these shows. Now he is between stage manager jobs and is on stage as a shoe player.
I think in recent years he has been eager to take part in these musicals himself. In any case, he shows infectious enthusiasm throughout the entire Haugesund presbytery.
The one who holds the first part together is Henrik Bjelland. Most of all, he uses every possible moment to bring out the humor in the text, melody, and tradition.
The first part is funny, but it’s not quite right.
Then something happens.
One of the first pieces sung in Part Two is as follows:
Norwegian arrogance, indifference, and a willingness to look away from the damage caused by oil – I call it the tyranny of kindness – are everywhere in Chapter Two.
Olga is shown as a goddess dressed in black with a shimmering oil platform crown, and the Norwegians throw themselves at her feet.
This religious image in and of itself isn’t sexy, but the goddess has a plan: a flood. annihilation of the world. Enough is enough.
But the Norwegians are very good. They can go up in the ark. The rest of the world can sail, but Norway wants to save itself.
Because what else should I count on other than oil? In this lies the sharp and brilliant irony:
The conclusion of the play is crystal clear:
This is happening while the sabotage of the gas pipelines is heightening fears of energy shortages in Europe and unwanted war.
“Oljå – A Musical” hits so well in the second part that it’s stinging. This makes it easy to forgive small debris in the insight.
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