About 300 years ago, Sweden invaded Norway. After defeat against Russia in the Great Nordic War (1700–1721), the Swedish king Karl XII tried twice to take Norway, among other things so that Sweden would retain its position as a major power in Europe. Young Swedish men were conscripted into the army. Many of them Jämtlendingers, almost too Norwegians to count, Jämtland was Norwegian until the middle of the 17th century. It must have seemed strange to the young soldiers to have to invade a people they could almost count as brothers. Exotic and spectacular It’s almost like you could move time and place to our days, a little further south and east in Europe. There, fraternal people kill each other in a war of invasion, and young men have been sent to the front without quite knowing what they were going to do there. At least that’s how it’s told. In the middle of the world heritage at Røros, the complex agonies of the war of invasion are played out in the outdoor theater “Elden”. In exotic, spectacular and protected surroundings, the contemporary moves closer this year than it has ever done before in the play’s almost 30-year outdoor history. Because the invasion attempt 300 years ago, which “The Fire” is about, tells a story about the core of war: Love and sacrifice. Director Maren Bjørseth has used several choral parts in his version of “Elden”. It works well. Here the women from the mining town are united in the fight to save the valuable copper. Røros church can be seen behind. Photo: Marthe Amanda Vannebo Set designer Olav Myrtvedt’s seemingly simple, fence-like constructions are used cunningly by lighting designer Ingrid Skanke Høsøien and create a very special atmosphere as darkness descends. Photo: Marthe Amanda Vannebo The historical surroundings of Røros give the scenography in “Elden” an extra dimension. Photo: Marthe Amanda Vannebo Photo: Marthe Amanda Vannebo Nordic war tragedy “The Fire” tells of the Swedes’ last invasion attempt in 1718. While King Karl XII moved into the Eastfold regions, another part of the Swedish army was sent towards Trøndelag. The Swedes’ war strategy led them to Røros, where they took in the local population. There was never a campaign against Trondheim. The Swedish king was killed at Fredriksten fortress in Halden, and the soldiers ordered home. On the march to Sweden, they were met by severe winter storms, and many thousands of soldiers froze to death on the mountains. It is said to be the greatest Nordic war tragedy ever. In “Elden”, the story follows the young villager Kalle (Lars Henrik Aarnes). In love and newly engaged, he receives the summons order and reluctantly sets off, having no idea what awaits him. Through Kalle, the agony of killing is depicted, but also camaraderie, meaninglessness and longing. Aarnes does a good job of conveying the small man in the great war. In interaction with fellow soldiers Pär Åke (Jo Bjørner Haugom) and Niklas (Jonas Fuglevik Urstad), various war destinies are illuminated, but also unity and love. The fatal outcome is built up well through insights into individual destinies. Lars Henrik Aarnes does a good job as the young Swedish soldier Kalle. Here from the retreat to Sweden after Charles XII’s death. The journey over the mountain was fatal for several thousand of the Swedish soldiers. Photo: Marthe Amanda Vannebo Snorre Ryen Tøndel plays Swedish General de la Barre and convinces both acting-wise and with strong singing performances. The horses used in the show are of the Norwegian dølahest breed. Photo: Marthe Amanda Vannebo Record yourself The community in Røros is led by Maren (Mari Hauge Einbu), as a kind of female supervisor in the local community. Here they command and work, while the self-absorbed mine director (Niklas Gundersen) is mostly concerned with swinging around in his fur coat. It is primarily in the portrayal of the mining community that the weaknesses of this year’s production come to light. It’s like this part of the story hasn’t settled completely, it’s hard as an audience to navigate this story from the start. Perhaps it is because little is at stake until towards the end of the first act. It helps that Gundersen, as mining director, has a large comedy register to play on, but parts of the first act are perceived as not very dynamic. This will probably pay off, because there is great potential in this year’s edition of “Elden”. It is likely that an unnecessary amount of roaring will also find its variations. Power does not have to be shown only through the use of voice. The Swedes are enemies, but you have a duty to be a fellow human being regardless, learns Maren (Mari Hauge Einbu). Therefore, she gives the Swedes shelter, but hides the copper before they arrive. Here she is surrounded by the Røros people. Photo: Marthe Amanda Vannebo Mining director Bergmann is mostly concerned with his own luxury – until he is tortured by the Swedes, who want to know from him where the Røros copper is hidden. Gundersen also plays General Almfeldt, he who leads the Swedes against Trondheim. Photo: Marthe Amanda Vannebo Visually striking This year’s director, Maren Bjørseth, who among other things made the marathon performance “My brilliant friend” in Oslo, has created a performance that I feel has great potential. Visually, it is spectacular. Set designer Olav Myrtvedt’s apparently simple, fence-like constructions are used cunningly by lighting designer Ingrid Skanke Høsøien and create a very special atmosphere as darkness descends. Choir parts and the use of tableaux in the direction and choreography make the Slagghaugene venue come alive. The simple but spectacular scenography signed by Olav Myrtvedt is used well by lighting designer Ingrid Skanke Høsøien and makes the Slag heaps on Røros alive and dramatic. There is a fight for life and death in “Elden”. Photo: Marthe Amanda Vannebo Where the acting in some scenes can be experienced as choppy and not very dynamic, scenography, use of images, lighting and music give the show a magnificent boost worth the ticket alone. The convincing visual narrative also shows how humans become so small in the grand scheme of things. As if the little life hardly counts. But who still do it when Lars Henrik Aarnes zooms the audience in on the young soldier Kalle’s tragic story. “It’s small men who start wars,” said lieutenant-general and former president of the Norwegian Red Cross, Robert Mood, when he opened this year’s edition of “Elden”. But military operations, large or small, have unpredictable consequences for those who are put to work. In an ongoing war of invasion started by a small man in the east, history is not finished. Against this backdrop, this year’s “Elden” poses important questions. As when the ensemble sings: Here it is like a race that goes through all time. “The fire” is felt to be important when it shows humanity put to the test. The hope is that the play will have even better time to run together during the three years Bjørseth is directing. Give this gang a little more time together, and fine things can unfold. This year’s performance shows power and determination in the visual narrative. The ensemble just needs a little more time to place itself in it. Hi! I review theatre, performing arts and dance for news as a freelancer. Also read my review of “Warm milk with honey” which is playing at Salt in Oslo this summer. news reviews Title: “The fire” Written by: Arnfinn Strømmevold and Bertil Reithaug A total of 120 actors participate on stage. With, among others: Mari Hauge Einbu, Jonas Fuglevik Urstad, Niklas Gundersen, Snorre Ryen Tøndel, Lars Henrik Aarnes, Jo Bjørner Haugom, Oda Smit Ødegård, Kjersti Lotta Knotten, Tiril Sophie Randen Ramberg, Peder Angel Lundquist, Unni Ryen, Amalie Sivertsgård Holmgren , Connie Leet, Harald Hauge, Margrethe Hauge, Anja Hegseth Leinum, Stig-Arvid Leinum. Director: Maren Bjørseth Musical direction: Alf Lund Godbolt Musicians: Michael Krumins, Torjus Eggen, Elisabeth Nesset, Petter Tysland, Johan Bakken, Jo Ryen. Set designer: Olav Myrtvedt Choreographer: Ida Wigdel Lighting designer: Ingrid Skanke Høsøien Sound and pyrotechnics: RørosTeknikk AS Played from 27 July to 6 August at Røros. Several current theater performances
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“Elden” – historic music theater in Røros – Reviews and recommendations
