The cult series “Riket” took the Danes by storm when it came out in 1994. Lars von Trier’s mixture of horror, humor and excesses done with a messy, hand-held camera was, like most of von Trier’s work, something entirely for himself. When Oslo Nye Teater now stages it as a performance, they have managed to transfer the TV series to the theatre’s own format. It is also well played. But at the same time it appears quite conventional, a comedy interspersed with some powerful and entertaining horror. There is little room for lingering at von Trier. MAJOR PLAYER: Birgitte Victoria Svendsen is in great form as the clairvoyant and somewhat hypochondriac Mrs. Drusse – who realizes that something is wrong and tries to find answers in the hereafter. Photo: Tomas Kvitvik Smart solutions For those who have not seen the TV series, the theater performance stands firmly on its own two feet. The adaptations that have been made make “Riket” appear as a comprehensive performance, the action is boiled down to a kind of essence. As a performance in itself, it works as it should. The revolving stage and galleries are used extensively, and the scenography is cleverly designed so that lift shafts, hospital corridors and basement rooms are presented believably. The lighting design plays an important role and is just rightly terrifying when it needs to be. The play is consistently characterized by excess. SCARY FETUS: Ghosts also infiltrate wombs in “The Realm”. Here the famous giant baby (Øyvind Boye Løvold) born in a bathtub by Melina Tranulis with Anette Amelia Larsen as a terrified bystander.)SPIRITUAL SUPPORT: Brain surgery is performed in many operating theatres, also at Rikshospitalet. More unusual is that it is performed with hypnosis and with a ghost holding your hand. ADMISSION: Mrs. Drusse (Birgitte Victoria Svendsen) has some kind of pain in her hand, and uses it as an excuse to be admitted to the hospital where her son Bulder ( Ferdinand Falsen Hiis) works. Together they hunt for answers from the spirits. Photo: Lars Opstad RITUAL: Doctor Helmer (Henrik Mestad – in the middle) is incorporated into the doctor’s lodge with treats and hugs and dizzying rituals. Not everyone goes equally well, especially not the ritual with the saber. Photo: Lars Opstad / Lars Opstad Rigshospitalet in Copenhagen – the kingdom in the vernacular – has in Oslo Nye’s version been moved to Rikshospitalet in Oslo. Almost a shame that it is not Ullevål, the hospital that has recently been decided to be closed. It could have given some exciting and current dimensions to the play – in addition to hints at the Health Platform and digital record keeping when Doctor Helmer goes on a mission to find and destroy surgical records that cannot withstand the light of day. A piece of trivial literature Within the walls of the hospital, life is like a piece of trivial literature. Strong emotions are at play: infatuation, haughtiness, ambition and envy, and in the middle of it all stands Mrs Drusse (Birgitte Victoria Svendsen), a clairvoyant woman who senses that someone from the other world is returning to the hospital. Svendsen is in great form in the role of the inspiring lady in a pink coat, the same can be said of Henrik Mestad in the role of the Swedish doctor Helmer. NERVOUS TYPE: The very nervous Doctor Helmer has a whole lot of skeletons in his closet. No wonder he is nervous bordering on hysterical. Everything well designed by Henrik Mestad (left). Photo: Tomas Kvitvik Mestad makes the role his own, he does not try to resemble Ernst-Hugo Järegård’s legendary performance in the series, but creates something of his own in a terrific Swedish-Swedish way. The series’ “Danskjävlar” becomes “Norwegian jävlar” here – to great amusement. Mestad does a good piece of character work. Supernatural crime Although the play follows the series closely, there is little oppressive atmosphere, little blood and little room for reflection on the supernatural. The play contains most of the highlights from the series, here heads are sawed off and operations are carried out with hypnosis and worse. But the subterfuge von Trier opens up is reduced here to a riddle that must be solved, and preferably quickly. For comedy, it’s a good solution. CREATED THE ORIGINAL: “Riket” is originally a TV series from 1994, created by the long-declared genius Danish director Lars von Trier. Pictured here in Cannes in 2011. Photo: ERIC GAILLARD / Reuters The supernatural is not something the show takes time to dwell on. Thus, the play appears smoother than the TV series. This may also have to do with the fact that von Trier’s grainy series with hand-held camera takes the viewer deeper into something that is experienced as mysterious. The dimension between science and things that cannot be immediately explained is almost drowned out by the course of history and the progress of the plot. Scare a friend It has also become a very funny play. The lodge brothers, the almost hysterically nervous Dr. Helmer and the slyly clever Mrs. Drusse deliver excess play and light-hearted comedy with nice changes of pace and double purposes. FULL OF ATMOSPHERE: Lighting and scenography create corridors and lift shafts where regulars can make themselves known. Here: Anna Skjønsberg Lundby as the ghost Mari. Photo: Tomas Kvitvik Mrs Drusse’s quasi-hypochondria is, for example, a source of great amusement. “Riket” offers a fun evening in the theatre, and it’s especially fun if you bring along a slightly frightened friend as a theater companion – the performance is a real treat. But so much to chew on, you don’t get that with the purchase. When current theater manager Runar Hodne took office, he said that Oslo Nye Teater should be a regional theater for Oslo – that he wanted to tell the local stories. Hodne must be tearing his hair out that the National Theater has grabbed one of the best local stories Oslo has – the success “Death in Oslo S”. There, they have managed to achieve a transition between the screen version and the stage, where the theme of the show remains long after it has finished. The “Kingdom” does not achieve that in the same way. It’s still a fun evening at the theatre. news reviews Photo: Miriam Edmunds Title: “Riket” Location: Oslo Nye Teater By: Lars von Trier and Niels Vørsel With: Birigtte Victoria Svendsen, Henrik Mestad, Anette Amelia Larsen, Johannes Joner, Melina Tranulis, Helle Haugen, Eivin Nilsen Salthe, Ferdinand Falsen Hiis, Gunnar Eiriksson, Eldar Skar, Marius Lien, Kim Helge Strømmen, Øyvind Boye Løvold, Olav Album, Håkon Seip, Benjamin Holter, Aleksander Noah Vale, Anna Skjønsberg Lundby and Hermine Yttervik-Qaderi. Date: 15 March – 13 May 2023 Direction and editing: Kasper Wilton Scenography and costume design: Camilla Bjørnvad Musical advice/choir study: Simon Revholt Lighting design: Øyvind Wangensten Sound design: Mathis Dikkanen Video production: Lars Opstad Mask manager: Katja Langer Choreographic assistance: Thea Bay Props director: Ingrid Usta Dramaturg: Marianne Sævig Dramaturg assistant: Elinor Hasselberg Swedish consultants: Elinor Hasselberg and Jesper Malm Inspector: Tina Elisabeth Johansen Aas Child inspector: Katrine Wisth Production staff: Kent Andreas Sæterøy / Sarah Frogner Edited for stage by: Nicolei Faber, edited for Oslo New Theater by Kasper Wilton Translated by: Kristofer Grønskag
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“Riket” at Oslo Nye Teater – Reviews and recommendations
