Many people seek out horror stories on film or in books. But the chance of being frightened is probably so great in the theatre. Everything happens for real there, the theater has effects that can keep the illusion up, and you can’t switch off or go anywhere. That is perhaps also the reason why the play that has run the longest in London – i.e. a play that is not a musical – is “Musefella” by Agatha Christie. In second place comes “Woman in Black” with over 13,000 screenings up to last year. The Norwegian version of the play is now playing at Det Vestnorske Teateret in Bergen. Who lurks in the shadows? That is the question in “Woman in Black”. MEMORY: Lawyer Arthur Kippe (Øystein Martinsen) relives a memory that lies thirty years back in time. Photo: Andreas Roksvaag Scarier than a horror film? But “Woman in Black” is frighteningly unscary and terrifying compared to what one should be able to expect. Some of the blame must lie with a rather thin and not particularly original script – here it takes time for the action to tighten up, and it takes time to establish the story. It is about a lawyer (Øystein Martinsen) who is haunted by a memory from 30 years ago. To get rid of this, he will tell his story. And to get help with that, he seeks out a shoe player (Cato Skimten Storengen). Soon they play out episode after episode of the nightmare from three decades ago. ÅLEMYR: What actually happened at Ålemyr estate that time thirty years ago? Arthur Kippe (Øystein Martinsen) is haunted by the incident. Photo: Andreas Roksvaag But if the script is not great, the scare must be. Here it takes time before the audience gets a kick or two. And in a vision the theater advertises as “scarier than any horror film”. Good shoe game It may be that there are far between the surprises in the script. A large part of being frightened is about being surprised. Fortunately, good shoe play made up for much of this. Storengen and Martinsen are good comedy comedians, and they have good timing. It is particularly effective when Martinsen holds back, when he draws out the scenes, looks at the other with a dark look that he holds. Long. In this way, he gives room for the uneasiness that is necessary for the audience to think that something sinister could happen here. SHOE PLAYERS ENSURE GROSS: The way Øystein Martinsen lets his gaze linger creates an eerie atmosphere and lifts the foresight. Photo: Andreas Roksvaag For someone sitting in the theater hall with high expectations of being frightened, the first part is long-winded. Only in the second part do the scary effects really come into their own, but at the same time they come close together. Grøssa are good – but they come almost too close when they first come. A portioning of the effects and tension had ignited the foresight. Director Yngve Sundvor, together with the two actors, is also responsible for the scenography and costumes. It works well, but I have the feeling that the visuals have room for more surprises. Something that I think a scenographer’s view from the outside could help bring forward. But the lighting works well. Light and sound are among the most important elements for underpinning the feeling of horror. If the sound effects are sometimes a bit conventional, they are just as effective. STUFF: A stuffed fox with a glowing eye is among the scenographic elements in the presentation. Without the fact that the fox has so much to say to the story. Photo: Andreas Roksvaag Fresh There is something fresh about going all out with entertaining horror theatre. And even if the vision does not quite hit the mark, it shows what wonderful possibilities lie in the theatre. For those who think that Norwegian theater is only Ibsen and Fosse, the theaters should straight-up claim that they are the best at it. Good shoes players in combination with great entertainment can be just what you want while the calendar is ticking towards Halloween. news reports Title: “Kvinna i svart” By: Stephen Mallatratt, based on a novel by Susan Hill Director and production: Yngve Sundvor City: Vestnorsk teater, Bergen Time: 13 September – 12 October Scenography and costumes: Yngve Sundvor, Cato Skimten Storengen and Øystein Martinsen Dramaturg: Aslak Moe Lighting design: Arne Kambestad Sound design: Gunnar Innvær With: Cato Skimten Storengen, Øystein Martinsen and Vilde Biserød Vengnes Children’s voice: Amanda Flatholm Duration: approx. 1 hour and 45 minutes. with a break Published 17.09.2024, at 12.49
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“Woman in Black” at the West Norwegian Theatre, Bergen – Reviews and recommendations
