Aksel Hennie spoke big when he told VG earlier this summer that he wanted to create “the most wonderful Peer Gynt ever”. A statement that could well suit one of drama’s most bigoted roles. But that means that Hennie has a lot to prove in what is his first theater premiere in over ten years. Small and big And to take it first as last: It is noticeable that he is out of training when it comes to large formats. Hennie is best in interaction with others. In the scenes where he is alone, he gets wrapped up in himself. He does not fill the room well enough, he chooses not to use the space the scenography gives him. Had he done so, the text would also open up to a greater extent than it does in parts of the passages where he stands alone. The contrast is great with how the other actors take up space in the room and use it. Like Mimmi Tamba, Ameli Isungset Agbota, Øystein Røger. In addition, Hennie is sometimes a little too quick in the transition between different emotions. Maybe it’s about nerves, maybe about theater muscles that need a little more training. AKSEL’S THEATER RETURN: “Peer Gynt” is Aksel Hennie’s first theater role in over ten years. See clip. Religious entry That said: This year’s “Peer Gynt” at Gålå is nevertheless interesting, and Hennie does a solid job. Director Per-Olav Sørensen has stated that he considers the play to be deeply religious, and therefore allows Mor Åse (Guri Johnson) to open the performance with the Petter Dass hymn “Lord God, your precious name and honour”. Johnson sings with a strong and dark voice, it is as if she is affirming something, setting the conditions for a world where “God is God if all lands were desolate”. As she sings, a core scene plays out, something that will repeat itself almost every time Peer tries to take part in a community: He is surrounded by the mob. They stand around him, push him down, force him to do things he doesn’t want to do. Like drinking when they place a funnel in his mouth and he has no choice but to swallow. The boy from the once rich Gynt family has become a chicken. It is an important premise, because it largely explains Aksel Hennie’s Peer Gynt. He’s outside, he can’t trust anyone. THE GREEN DRESSED: Ameli Isungset Agbota sets fire to “Peer Gynt” at Gålåvatnet when she appears. Around her, small and large trolls pop up, and the deserted stage is transformed into the hall of Dovregubben. Photo: Bård Gundersen Ødeland The buck ride goes away out of breath and in a sweep. Bruderovet is actually quite tame, it is only in Dovregubben’s hall that Sørensen’s directorial grip is really released. The ensemble scenes are well choreographed by Thea Bay, they are characterized by excess and a humorous redemption. Geneviève Lizotte’s scenography may remind you a little of the slag heaps on Røros (where the play “Elden” takes place every summer). She has created similarly light mounds of sand that hide the small seat huts that usually frame “Peer Gynt” on Gålå. On the whole, the scenography is close to nature, it picks up the Dass hymn’s mentioned line that God is God if all lands were desolate. Because the scenography looks deserted. And that gives it opportunities that are well utilized in scenes such as Dovregubben’s hall, where the trolls pop out. The desolate and lonely nature of Peer’s life is reflected in the scenography throughout the performance. A semi-circular stage mirror is used effectively throughout the play, but this too gives an experience of something desolate, an empty surface in the dark. No wonder the Button Molder wants Peer to be remelted. Rich register Mimmi Tambas Solveig is one of the show’s highlights. She is a weaver and steady, waiting, calm and confident – undeservedly good to a Peer who goes by the wayside. The convincing thing about Solveig is in Tamba’s song. In a rich register, she lets the song confirm that it is not up to Peer that she waits, it is her own choice. To pursue the religious theme: Love, perhaps you can call it reconciliation, stands firm regardless of Peer. Although Peer and many around him constantly violate human dignity, the characters become small wonders in light of the faith they advocate: God is God if all men were dead. It is also a terrifying premise, especially considering the scene with the shipwreck, where everyone as close as Peer lies drowned again. A HIGHLIGHT: Mimmi Tamba as Solveig. Photo: Bård Gundersen In a mirror, in a riddle Aksel Hennie is right about this: Peer Gynt is someone who needs help. Humans do not do well alone. Peer Gynt fumbles and fails on the barren earth. What does he really have left for his efforts? Hennie expresses this despair nicely. Hans Peer has courage, but also regrets in there somewhere, he is an egoist with an angel on his shoulder. He reaches zero when he drowns the cook to save himself. Does he deserve Solveig’s forgiving embrace? The question is asked in front of the large mirror that rises on the stage in the mountain home. There, the audience can, if they wish, see themselves – or reflect themselves in Peer. The question becomes who comes out well from this enveloping mirror, a question that can linger in an audience’s mind for a long time. And you have to go to Gålå to see that. news reviews Photo: Bård Gundersen Title: “Peer Gynt” Place: Gålå Date: 5-13 August 2022 Director: Per Olav Sørensen Cast: Aksel Hennie, Guri Johnson, Dennis Storhøi, Mimmi Tamba, Øystein Røger, Emilia Roosmann, Eivin Nilsen Salthe, Ameli Agbota, Tom Styve Scenographer: Geneviève Lizotte Choreographer and co-director: Thea Bay Composer and sound designer: Kristian Eidnes Andersen Co-composer and musician: Hans-Kristian Kjos Sørensen Costume designer: Oddfrid Ropstad Lighting and video designer: Reidar A. Richardsen Mask designer: Tonje Lie Artistic director: Ellen Hordn Producer: Eline Lysen Paulsen Hello! I’m reviewing 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.
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“Peer Gynt” during the culture festival at Gålå – Reviews and recommendations
