Earlier this year, I was dismayed at how Norwegian theater failed to bring the nature and climate crisis onto the stage in a way that I knew was credible. My performance did not arouse reactions. Hardly anyone objected. And it’s no wonder, because the climate crisis affects our own prosperity, it requires us to change the basic conditions. How do we handle the oil, for example. But in recent months, the oil has been seen on the theater poster several times. Both in Stavanger and Oslo. The debate around Project Sløseri is also mostly about what the oil money goes to. In the deepest sense, oil can be thanked for the prosperity and license for contemporary art. Not razor sharp Now it is in Haugesund that they are putting the Norwegian oil adventure under the microscope. “Oil – a musical” starts with the origin. The shoe players are dressed in ballet shoes and toga-like towel creations. The theme is maritime, and the artistic tools are put to good use. Red swimming feet, lifebuoys, swimming rings, beach balls and flashlights are used inventively and effectively throughout the entire presentation. COWBOY: Cato Skimten Storengen in full swing as an oil-seeking cowboy. Photo: Haugesund theatre/Dag Jenssen The choreography is lively and funny, even if the space on the stage is crowded. The entire first part has a show feel, but “Oil” never quite finds the rhythm as foresight. The musical is thoroughly composed, sometimes very rhythmically complex, and it is demanding for the ensemble to sing some of the parts. Not everyone delivers razor-sharp vocals. In any case, not if one is going to put the list at Folketeateret level. But there are also some fine performances here. WEALTH: Norwegians like prosperity and wealth best, says the foresight. Photo: Haugesund teater/Dag Jenssen Contagious enthusiasm The musical was written by the Swedish playwright Klas Abrahamsson, who is behind successes such as “Evig ung”, “Min venn fascisten” and “Arbeiderpartiet – the musical”. Former theater director at Teater Ibsen, Thomas Bye, has initiated several of these performances. Now he is between theater manager jobs and is on stage as a shoe player. I suspect that in recent years he has been itching to take part in these musicals himself. In any case, he shows infectious enthusiasm throughout the entire foresight in Haugesund. TOO LATE: In the old book they find warnings against free flow of oil. But they find it too late. From left: Thomas Bye, Cato Skimten Storengen, Marianne Hetland and Henrik Bjelland. Photo: Haugesund theatre/Dag Jenssen The one who holds the first part together is Henrik Bjelland. Most of all because he uses every possible moment to bring out the humor in the text, melody and mimicry. The first part is funny, but not quite right. Then something happens. One of the first stanzas sung in part two goes like this: The Norwegian arrogance, apathy, willingness to look away from the damage oil does – call it the tyranny of kindness – is everywhere in the second act. Olja manifests as a black-clad goddess with a glittering oil platform crown, and Norwegians throw themselves at her feet. OLJEGUD: The shoe players with ballerina shoes. Behind sits the oil god (Ane Skumsvoll). Photo: Haugesund teater/Dag Jenssen In and of itself, this religious image is not that exciting, but the goddess has a plan: A flood. Annihilation of the world. Enough is enough. But Norwegians are so good. They can come up in the ark. The rest of the world can sail away, but Norway wants to save itself. Because what else do I have to rely on but the oil? In this lies razor-sharp, striking satire: The conclusion in the play is crystal clear: And this is happening while sabotage in gas pipes makes the fear of energy shortages in Europe and an unwanted war increasingly strong. “Oljå – a musical” hits so well in part two that it stings. This makes it easy to forgive small debris in the foresight. news reviewer Photo: HAUGESUND THEATER/DAG JENSSEN Title: “Oljå” City: Haugesund theater Date: 29 September 2022 – 29 October 2022 Duration: 2 hours, incl. intermission Playwright: Klas Abrahamsson Sales: Thomas Bye Director: Ida Høy Composer : Anders Brunvær Hauge Scenographer and costume designer: Gjermund Andresen Choreographer: Ludvig Herstad Lighting designer: Simon Alvsvåg Cast: Ane Skumsvoll, Cato Skimten Storengen, Henrik Bjelland, Thomas Bye, Marianne Hetland, Anders Brunvær Hauge (Kapellmeister and musician), Ørjan Haaland (musician) and Jon Rasmus Sjøen (musician).
ttn-69