When the story of the blue gnomes is staged as a theater in 2022, it will be for a generation of children who probably have no idea what “Christmas in Blåfjell” is. The premiere showed that the goblins in Blåfjell can still captivate children, but that it requires tight and vigilant storytelling. And not least a look from someone who doesn’t have history in their spine. People’s love calendar In 1999, the news Christmas calendar “Jul i Blåfjell” was broadcast for the first time. It was awarded both the Gullruten and Spellmannpris, has been broadcast five times on news, and received a sequel in “Jul på Månetoppen”. When news decided in 2015 that “Christmas in Blåfjell” should not be broadcast several times, it resulted in torchlight processions and signature campaigns. Without that helping. The stage is thus set for a nostalgic evening for those who watched Children’s TV between 1999 and 2011. While today’s children have “Snøfall”, “Kristiania magiskes tivolitheater”, “King of Christmas” and “Stardust” as their calendar references, there are many in 20 – and the 30-year-old who remembers Turte, Twins, the red elf girl and the closing mountain. AWAKES CURIOSITY: When a red elf girl has mysteriously entered Blåfjell, Turte’s curiosity is awakened. She discovers that there is a lot she does not know and manages to make the rest of the blue mountain people realize the same. Turte is played by Ane Eikemo. Photo: Øyvind Ganesh Eknes Hastily told by Gudny Ingebjørg Hagen’s story about the blue gnomes’ fear of the strange (read: red gnomes and village folk), is rock solid thematically. The same can be said about Mamsen and Lillegutt’s littering behavior (don’t throw rubbish in nature!). But the story of Blåfjell is told so hastily that the solutions seem simple. The rubbish problem is brushed aside without anyone having to take responsibility, and xenophobia is quickly turned into tolerance in order for the story to progress. This hasty feel is due to the fact that a lot must happen in a short time: A complicated universe with names and rules must be presented, all the well-known songs must be performed, and the conflicts and characters they contain must be presented – and everything must be resolved. DRESSING THE ROLE: Inger Lise Rypdal plays Queen Fjellrose of Blåfjell. The playing style is a bit stiff, but in its own way it suits the role of queen nonetheless. Photo: Øyvind Ganesh Eknes You can already feel it from the start. The context and presentation of the premises for life in Blåfjell moves quickly. Ane Eikemo as the blue elf girl Turte makes a solid effort as the show’s common thread. This means that the conflict surrounding the red elf girl who has ended up in Blåfjell is told clearly and nicely, but all the details of the story are still complicated. The details in the performance are elements that do well in a series format where they can be developed and followed up. But in a stage version set up for children who do not necessarily know the universe, one should cut more sharply to get the big picture – at least if the target audience is the smallest children. HASTIG: The ensemble is energetic and gentle throughout the performance. The efficient elves have a lot to do before Christmas. Behind the ladder: Kevin Haugan Photo: Øyvind Ganesh Eknes Energetic Having said that – the performance is full of energy and enthusiasm, cheerful actors and a clear, almost caricatured playing style. The ensemble is precise, and with Kevin Haugan as dance captain, Johan Osuldsen’s choreography has been given a fresh expression. This freshness is also felt in the up-tempo character of the musical background. It works surprisingly well when driving rhythms are followed up by delightful harmonica playing and jazzy French horns. It works well to let the old meet the new in the elf home. The very finest scene is a choreography where Turte and Tvilling remember in slow tempo over the audience while they are contrasted by the ensemble that dances to fast rhythms and harmonica playing. It would have been interesting if the physical expression and Haugan’s exciting dance-like stage language were allowed to play a greater role in driving the narrative itself. As created for the fans The highlight for most of the children is not unexpectedly Mamsen and Lillegutt, a naive mother and son who have been given responsibility for the village’s rubbish. They choose to solve this by throwing the rubbish in Blåfjell. In Håvard Lilleheie (Little Boy) and Siw Anita Andersen (Mamsen), the audience gets everything they want. HIGHLIGHT: Mamsen and Little Boy are important in the performance “Christmas in Blåfjell”. They throw rubbish in the mountains and look forward to Christmas. But someone is playing them a rubbish Santa trick, it turns out. From left: Håvard Lilleheie as Lillegut and Siw Anita Andersen as Mamsen. Photo: Øyvind Ganesh Eknes Hard-wearing songs and a nice story about friendship make “Christmas in Blåfjell” worth the visit. But Christmas calendars from the last millennium tend to be too old in the storytelling, and this stage version bears the mark. Powerful energy, funny gnomes and fine performances nevertheless give the Blåfjell fans exactly what they want. DANCE CAPTAIN: Kevin Haugan (in the sticks) gets to show his many skills in “Christmas in Blåfjell” and helps to create a young and modern expression in the performance. It would have been exciting if his physical expression could have been part of the storytelling to a greater extent, says news’s critic. Photo: Øyvind Ganesh Eknes news reviewer: Title: “Christmas in Blåfjell” Idea and script: Gudny Ingebjørg Hagen Where: Chateau Neuf, Oslo When: 9 November – 18 December Cast: Inger Lise Rypdal, Håvard Lilleheie, Siw Anita Andersen, Kevin Haugan, Ane Eikemo, Anders Hatlo, Amanda Kamara, Sondre Krogtoft Larsen, Espen B Kristoffersen, Sofie Bjerketvedt, Evelina Moholt, Thomas K Urnes, Sunniva K Norkyn, Thea Carlstedt, Runar Løvfall, Melissa Hagen, Elias Wingan, Mathilde Gaalaas-Berg , Marie K Fjeldstrøm, Elin J Bæver, Martin H Dyngeland, Klara L Morgensen, Håkon S Tollefsrød, Brita Angelveit. Director, choreographer and dramaturg: Johan Osuldsen Composers: Geir Bøhren and Bent Åserud Produced by: Over Norge, Starworks & Taran Musical responsible: Hans Einar Apelland Scenographer and lighting design: Anders Busch Sound designer: Erik Valderhaug Video designer: Kristin Bøyesen Props designer: John Johansen Costumes, hair and make-up: Cårejånni Enderud Orchestra: Johannes W. Farstad (kapellmaster), Bernt Roar Baade (percussion), Ane Pedersen (woodwinds) Duration: 120 minutes Hi! I review theatre, performing arts and dance for news as a freelancer. Also read my reviews of “Kristin Lavransdotter” at Det Norske Teatret, of the play “Don Juan” at Trøndelag Teater or “Snøsøstera” at Det Norske Teateret. Updated 11.11 at 15.17: In the original version of the article it was stated that the audience in wheelchairs will be placed closest to the stage, and that they will thus miss out on a central scene that took place among the audience. This was a special case the night our reviewer saw the play. This has therefore been corrected in the text. WATCH ON news TV: The family film “Blåfjell 2 – The hunt for the magic horn” from 2011.
ttn-69
“Christmas in Blåfjell” at Chateau Neuf, Oslo – Reviews and recommendations
