– With the exception of a feature in Dagsrevyen, which meant a lot, there was little coverage nationally. And no national reviews, says newly appointed director of Fjæreheia Amfi AS, Ida Halvorsen. Between 20 and 28 July, the Norwegian Ibsenkompaniet with producer André Moi Danielsen and Kåre Conradi in the lead staged Henrik Ibsen’s drama “Brand” in the quarry scene in Fjæreheia. The performance, with the aforementioned Vidar Magnussen, Kjersti Elvik and Kristoffer Olsen in central roles, received a lot of publicity and reviews locally in Southern Norway. But little national. – Of course we wish we had a little more national press that came and made the trip and visited us, says Moi Danielsen. – Important to report “Brand” had an occupancy of just over 60 per cent. – I am very happy that so many chose to make the trip and visit a fantastic arena. And then it is the same as for all other actors: we would ideally like to see that there was 100 per cent occupancy at all performances. – It’s about raising awareness of a fantastic arena, about what Fjæreheia is, says Moi Danielsen. “Brand” with Kristoffer Olsen in the lead role, was played in Fjæreheia in Grimstad at the end of July. Photo: Fjæreheia.no The Fjæreheia director would like to have been mentioned in all the country’s newspapers and media houses, and also reviews: – Getting a review from a professional reviewer is important for someone involved in the performing arts. Whether it’s music or theatre, she says. Using social media Halvorsen comes from his job as director of marketing and communications at the Nationaltheatret in Oslo, and understands that it is difficult for the editors to cover everything: – The cultural editors have become very limited around the newspapers, both locally and centrally. So I am incredibly grateful that all the local and regional newspapers have been here and reviewed this summer, she says. Going forward, Fjæreheia Amfi will do like many other cultural actors: – We must create interesting content even in social media that makes people want to come. It is 25 years since the outdoor stage in the quarry in Fjæreheia was completed. Photo: Kilden.com One review in thirty years The performances in the quarry scene in Grimstad are not the only ones struggling to get national attention. – During the thirty years we have been at it, we have received one national review, says general manager Siri B. Gellein of Stiftelsen Elden. It was by news’s reviewer Karen Frøsland Nystøyl in 2022. “The fire” is Norway’s biggest game, and has been played outdoors in the middle of the world heritage at Røros since 1994. Nevertheless, they get little column space in the national media. – We also invite the national press, but get no mention. Now we are lucky that we play to full houses, but the consequence is that fewer people have heard of us, says Gellein. Fewer reviewers – There are fewer and fewer people who review performing arts in Norway. There lies a challenge, she believes. The impression is confirmed by Ingegerd Eggen, museum manager at Stiklestad National Cultural Centre. They are behind the traditional performance “The Game of Saint Olav”. The Stiklestadspelet, also known as the “Game of Saint Olav”, celebrates its 70th anniversary this year. Here from a performance in 2019. Photo: news – 10-15 years ago, there was less competition for national reviews, says Eggen. This summer, the Stiklestad Games in Verdal in Nord-Trøndelag celebrated their 70th anniversary: - So we got national coverage in both news and TV 2, but no national reviews, she says. Targeted work In Gudbrandsdalen, the cultural festival Peer Gynt has worked targeted for several years to market the theater performance at Gålå water. It gives results. The performance is widely discussed and reviewed both nationally and locally. – We actively work against editor-controlled media, and the reason is simple, says marketing and communications manager Rita Støstad. – When we ask the audience why they come, the answer is that they have either had the show recommended by friends and acquaintances, or they have heard about it through editorial coverage. So getting press coverage means a lot to us. – Fewer reviewers news’s reviewer Karen Frøsland Nystøyl would like to jump from game to game and outdoor theater to outdoor theater all summer. Theater and stage critic at news, Karen Frøsland Nystøyl. Photo: JAVIER ERNESTO AURIS CHAVEZ / news – But it’s not like that, says Frøsland Nystøyl. She herself was on holiday when “Brand” was played in Fjæreheia. – We included the performance in our recommendation guide for the summer instead. We then reported Jon Fosse in Arendal shortly after – when I was back in place, she says. – It is also part of the cabal that if there are not many reviewers, then there are also not many who can go, she says. – Challenge Because when there are fewer reviews of performing arts in the Norwegian media, there are also fewer people who choose to review. – So it is a challenge. Not only for those who want to work as a critic, but it is a challenge for the exchange of opinions about art, she says. – And then there is a challenge for the theatres, of course, which need the attention – good or bad. They need it because it shows that they exist, says Frøsland Nystøyl. The fire at Røros. Photo: Linda Bjørgan / news – Important for democracy – Books, restaurants and TV series are often reviewed in the media, while there are fewer and fewer reviews of both concerts, records and performing arts performed in Norway with Norwegian artists, says Siri B. Gellein in the Foundation The fire. She believes it is a democratic problem that these voices are not heard. – Music and performing arts are an important part of Norwegian culture. It tells stories about Norway, and can confirm, challenge and change. It is part of our democracy, one of many voices. Fjæreheia Amphitheater Photo: Miriam Margrethe Grov / news Outdoor stage located in the old granite quarry in Fjæreheia in Grimstad. Was used for the first time as a theater stage in the summer of 1993. Then Henrik Ibsen’s Catilina was played. Agder Teater bought the quarry in 1995, and in the summer of 1999 the new grandstand facility with 1,000 seats was ready. In addition to several large Ibsen performances, there have been concerts with, among others, A-ha and Vamp in the facility. Several musicals and dance performances have also been staged in the quarry. Several attempts have been made to create more activity in the facility. In the winter of 2009, Fjæreheia Drift was established as a three-year trial project with the vision of turning Fjæreheia into a “cultural house without a roof” in the summer. From 2012, the outdoor stage was part of Kilden’s facility. In 2020, it became known that Kilden wanted out of Fjæreheia, on the grounds that the facility was too resource-intensive. Grimstad took over the amphitheater in January 2023, and established the company Fjæreheia Amfi AS with Ida Halvorsen as director. The Norwegian Ibsenkompaniet, led by Kåre Conradi, has a three-year agreement on use of the stage, and has so far staged Peer Gynt and Brand, among others. The company has the option to extend the agreement for two years. Published 08/08/2024, at 05.18 Updated 08.08.2024, at 07.48
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Performing arts actors struggle to get mention in the national media – news Sørlandet – Local news, TV and radio
