“Flukt” at the Nationaltheatret – Reviews and recommendations

They shout and whisper and slam doors in the National Theatre’s Norwegian premiere of Mikhail Bulgakov’s “Flukt”. But to say something about what war does to the individual does not hit the show very well. Here you don’t get close enough to the most important characters. Mikhail Bulgakov was a Russian writer, best known for the novel “The Master and Margarita”. He came from Kyiv, and several of the works he wrote were characterized by the Russian Civil War. The play “Flukt” was published in 1927, but was considered anti-Soviet and therefore banned. THE FOLLOWERS OF WAR: Kim Sørensen and Ola Gamkinn in a scene from “Flukt”. Photo: Erika Hebbert Bulgakov wrote “Flight” from the point of view of “the whites”. That the enemy could be portrayed sympathetically was, to put it mildly, inappropriate for the Red Bolsheviks. Ukrainian-born Bulgakov is seen today as one of the foremost Russian writers, but is considered controversial in today’s Ukraine. About getting by Kyiv, Mariupol, Zaporizjzja, Krym, Kherson. Places most people have become familiar with after the invasion. They are all mentioned in Bulgakov’s play, and these well-known place names are the closest the play gets to a sense of topicality and flammability. Although “Flukt” is about what war can do to people, the play is still mostly about the choices you make to survive when the war is over. The frame story is about Serafima (Maria Kristine Hildonen) and Sergej (Herbert Nordrum) who meet on the run, and a close bond develops between them. LOSING EACH OTHER: During interrogation, Serafima (Maria Kristine Hildonen) is taken away and disappears from the sight of escape companion Sergej (Herbert Nordrum). Back left: Jacob Jensen as Krapilin. Photo: Erika Hebbert They are separated from each other during the ravages of war, but Sergej never gives up searching, and eventually finds Serafima. An episodic structure means that the audience quickly loses sight of the couple – the performance is as much about traumatized and tired warriors and war criminals. Camera trauma Here, Ole Johan Skjelbred offers to dance. As the evil General Khludov, he is the only one we get close to – and director Alexander Mørk-Eidem allows Khludov’s trauma to unfold when the battle is lost. He does this quite concretely by letting his conscience haunt him in the form of a soldier he had hanged (Krapilin, played by Jacob Jensen). LARGE CAST: The cast features several familiar faces. Here Trond Espen Seim in the role of Major General Gregorij Tsjarnota. Per Christian Ellefsen as Archbishop Afrikan. Herbert Nordrum as Sergej Golubkov, Andreas Skjellum Tønnesland as the Station Master and Marika Enstad as Tikhij, head of the Whites’ counter-espionage department. The soldier haunts the general with a camera in tow and films him non-stop. The move is well thought out. Neither the general himself nor the audience is free, chased and tormented, he is projected onto the stage wall. Skjelbred has a distinctive playing style, and he creates an interesting character. Hans Khludov offers a kind of resistance and intensity that can make one curious, and the smooth sloppiness makes it interesting to invest attention in this fallen general. The approach to video is still not as well integrated and effective as, for example, with Kjersti Horn – she is the unrivaled queen of live streaming on Norwegian theater stages. ON THE VERGE OF SUICIDE: General Khludov (Ole Johan Skjelbred) is tormented by the atrocities he has ordered during the war, and is about to shoot himself when he is disturbed by Sergej (Herbert Nordrum). Behind, the video projection of Khludov’s tormented face can be seen. Photo: Erika Hebbert Fine individual parts The play’s episodic structure makes one lose track of the framework narrative, despite good individual scenes and performances. Too much shouting and slamming doors contributes to a distance between the audience and the stage, like a story that doesn’t quite get there. Where Skjelbred’s distancing as Khludov can be interesting, the aforementioned distance characteristic of the rest of the performance is not as successful. But there are also good performances here – Herbert Nordrum wears the role of an awkward academic in love. And here are several funny scenes, including a round of card games where the comic timing is superb. CHICKEN STUNT: Sergej Golubkov (Herbert Nordrum) earns a living as a matchmaker in a chicken suit after escaping to Constantinople. Major General Tsjarnota (Trond Espen Seim) works as a balloon seller. Photo: Erika Hebbert But the intertwining of the many actors, the various storylines and all the elements in the performance was not quite ready for the premiere night. That should be expected with so many big names on the poster, both in the artistic team and on stage. I hope the Nationaltheatret offers greater experiences than this during the autumn. Because this was perfectly fine – nothing more, nothing less. news reviewer Title: “Flukt” By: Mikhail Bulgakov Translation: Dina Roll-Hansen Processing: Alexander Mørk-Eidem and Hege Randi Tørressen Director: Alexander Mørk-Eidem Location: Hovedscenen, Nationaltheatret, Oslo With: Maria Kristine Hildonen, Herbert Nordrum, Trond Espen Seim, Marte Engebrigtsen, Ole Johan Skjelbred, John Emil Jørgensrud, Jacob Jensen, Per Christian Ellefsen, Kim Sørensen, Bernhard Arnø, Andreas Skjellum Tønnesland, Petronella Barker, Marika Enstad, Lasse Lindtner, Thomas Bjerkan, Henning Holm-Glad, Nora Maxhari Klokkervold, Ola Gamkinn, Marta Aukland, Nemine Ertzgaard. Scenography: Erlend Birkeland Costume design: Jenny Ljungberg Lighting design: Ellen Ruge Video design: Torbjørn Ljunggren Make-up artist: Ida Kristine Høgbakk Dramaturgy: Hege Randi Tørressen Performance period: 22 August–12. October 2023



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