Loga sámegillii. When the Sami National Theater Beaivváš invites you to their last performance before they move into the new theater building in autumn 2024, they use big words like treasure chest and fantastic. But, when you invite to something wonderful, you must also be careful to serve what you promise. The venue is set up for an intimate concert with round tables and chairs, people find their seats and the conversation is lively. On stage there is nothing to remind one of scenography, only instruments and microphones. There is a large screen on the wall. Photo: Aslak Mikal Mienna The light dims and the conversations end abruptly. A film clip of a woman in a cardigan appears on the big screen. The image is indistinct, but the voice is clear: “After the performance, all the puppets must go out, we must get the venue ready for the party!”. The whole hall laughs, this bodes well. The retrospective is funny and tells something about what it is like to be a touring theater in Sápmi and play theater in various village houses. Regrettably, the clip was shorter than a standard TikTok video, and there were no more such clips during the concert either. Something that should be done. WORKS TOGETHER: It works best when the ensemble is together, then the voices merge and it becomes both powerful and beautiful. From left: Mary Sarre, Nils Henrik Buljo, Iŋgor Ántte Áilu Gaup, Egil Keskitalo and Marte Fjellheim Sarre. Photo: Aslak Mikal Mienna Concert by actors A musical theater performance was what I imagined when I read the description of “Váimmus váibmui”. But, it is a clean concert, performed by skilled musicians with Roger Ludvigsen as musical director, and actors, who are not necessarily the best vocalists. The very idea of a musical retrospective is good, but there should be some kind of dramaturgy, and empathy, when it is performed by none other than the Sami National Theatre. In “Spillerom” we meet some of the actors in “Váimmus váibmui”, who have also created a performance about the possibilities and history of the joik. Listen to the episode here: Picture display from the nineties To give a sense of the content of the pieces from which the songs and joiks are taken, pictures from these are shown on the big screen. Unfortunately, they are of little help to those in the audience who have not seen the performances in question. Today’s audiences are also not impressed by a picture show where the pictures are changed every four seconds. At the same time, the distance between the artists and the screen is too short, so I struggle to choose what to focus my gaze on. The pictures of theater staff in front of the tour bus would also have been better on the Christmas table than as a background for a performance that will travel around Sápmi. Inappropriate repetition There are many songs that are unfamiliar to me. Either I haven’t lived long enough to have had the opportunity to experience all the plays, or I’ve lived in places the theater hasn’t visited. The song “Gáktenieida/Koftejenta” from 1986 is new to me. STEADY RHYTHMS: Roger Ludvigsen leads the music confidently through the performance. Ludvigsen also contributed to the music production for the play “Min duoddarat – Våre vidder”, which was the first play to be staged at the Sami National Theater Beaivváš in 1981. Photo: Aslak Mikal Mienna For someone who has followed the theatre’s public handling of the metoo case, the unpleasantness of witnessing a song about a cardigan girl with her butt in the air and the female scents. It comes on so suddenly and I struggle to know how to react. I glance at my sidekick, and she is as badly affected as I am by what is unfolding on stage. Not all memories are good memories, and this song could very well have been packed away in one of the moving boxes and never taken out again. Or even better: the theater could use the opportunity to come to terms with its passive attitude and reflect on its own role with a view to a safe society for all. A moment of emotion About halfway through the performance, Mary Sarre gives us a brief moment of current affairs, and emotion, when she uses the opportunity to remember all the children who are being killed in Palestine now. A MOTHER’S GRIEF: Mary Sarre touched many in the audience when she sang “Eatni Lávlla/Mother’s song” from the play “Lonuhus”, where the main message was that all children have the right to love. The song is about a mother’s grief over having lost her child. Mary dedicated the song to all the children who are being killed in Palestine today, and her painful performance left many in the audience teary-eyed. Photo: Aslak Mikal Mienna “Eatni lávlla/Mother’s song” is touching, and Mary’s hurt voice makes me emotionally involved in the concert. Mary means what she sings. Egil Keskitalo is the next man up, and this sequence is also worth mentioning. He sings “Gabnaduoddarat” with both empathy and nerve. Then I enjoy myself. A farewell to the old It’s not like you have to have grown up at the Sami National Theater Beaivváš to be able to enjoy their performance, but the concert is not the greatest musical experience you will have in your life. YOU DON’T NEED TO BE A MASTER OF EVERYTHING: It’s not that Marte Fjellheim Sarre’s singing voice isn’t good, it’s just that it could be better. The Sami National Theater has really been lucky to have such a skilled choreographer, dancer, director and actor join the team. “Muohtaoabbá”, which she directed in 2022, was a joy to experience, so my wish is that the theater would rather give her more such jobs. Photo: Aslak Mikal Mienna For those who know the theater well, “Váimmus váibmui – from heart to heart” will probably bring back good memories and nostalgia. When you say goodbye to the old, you have a golden opportunity to welcome the new. What it will be, will be exciting to see. news reviews Title: “Váimmus váibmui – from heart to heart” By: The Sami National Theater Beaivváš Place: Riksscenen, Oslo Date: 27 October 2023. Played at 20 locations in Sápmi until 10 February 2024. Instructor: Rolf Degerlund Musical director : Roger Ludvigsen Actors/vocalists: Egil Keskitalo, Nils Henrik Buljo, Mary Sarre, Iŋgor Ántte Áilu Gaup, Marte Fjellheim Sarre Musicians: Roger Ludvigsen, Gjermund Silset, Andreas Gundersen, Jonas Karlsen Duodji design and sewing: Ann Majbritt Eriksen Technicians: Marita Kristensen, Jan Cato Nilut, Ole Thomas Nilut
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“Váimmus váibmui” by the Sami National Theater Beaivváš – Reviews and recommendations
