{"id":34663,"date":"2023-02-22T09:10:40","date_gmt":"2023-02-22T09:10:40","guid":{"rendered":"https:\/\/teknomers.com\/en\/no-and-no-again-at-the-riksteatret-reviews-and-recommendations\/"},"modified":"2023-02-22T09:10:41","modified_gmt":"2023-02-22T09:10:41","slug":"no-and-no-again-at-the-riksteatret-reviews-and-recommendations","status":"publish","type":"post","link":"https:\/\/teknomers.com\/en\/no-and-no-again-at-the-riksteatret-reviews-and-recommendations\/","title":{"rendered":"“No and no again” at the Riksteatret – Reviews and recommendations"},"content":{"rendered":"\n

The middle-aged person’s life can be full of frustrations. The decadent folly of the upper middle class to laugh at. But turning the mediocre lives of mediated people into art requires a kind of lift, an undermining or displacement. And the theater version of Nina Lykke’s novel “No and no again” fails to live up to that. This has resulted in a predictable theater performance at the Riksteatret. Divorce and emancipation Those in the audience who have read Nina Lykke’s novel will quickly recognize the story of Ingrid and Jan and their conformist lives. They have good jobs, two children who have grown up, but cannot bring themselves to move away from home. Life is quite stagnant, the days flow by and things are perfectly fine. Then Jan falls in love with his colleague Hanne and deceives Ingrid. They separate, and Ingrid works on her own liberation. The problem with the theater performance is that it hardly manages to surprise the audience. Whether you have read the novel or not – this is a story that almost gives itself, it goes as you would expect, and nothing unexpected happens in this narrative. It is strangely ordinary to be theatre. CHEATED: Ingrid is played by Ingunn \u00d8yen, who watches the days go by, and who does not understand that the man is cheating on her. Photo: Erika Hebbert Trollspeil When Knut Hoem reviewed the novel “No and no again” for news in 2016, he wrote: “It is not enough that literature is a mirror. It must be a magic mirror.\u201d And that’s exactly how it is with the theater performance and. It is not enough that it mirrors the world. It must also displace something, surprise, lift or enlarge. The Riksteatret has chosen not to do that this time. Nevertheless: The actors make a good effort. They are true to the narrative, true to their own characters, true to the direction. They nicely unfold folly and disappointments, idiocy and self-righteousness. They play with a kind of love for the poor people they bring to life on stage. So it must be in the script and direction. The characters are made less complex than in the novel, it seems. With Nina Lykke, it is an important premise that, after a difficult childhood, Ingrid is constantly affected by thoughts of disaster, but this perspective is difficult to find again in the theater performance. Despite this, Ingunn \u00d8yen makes a good effort. THE HABIT BREAKS OUT: Jan (Anders Mordal, left)) and Ingrid (Ingunn \u00d8yen) have lived together for many years. Now the marriage suffers from the hegemony of habit, and it goes as it should: He cheats on her with Hanne (Mari Hauge Einbu, right). Photo: Erika Hebbert A lovely theater space The performance is largely saved by the aesthetic expression. Set designer Signe Gerda Landfald and lighting designer Ingrid Skanke H\u00f8s\u00f8ien have created a wonderful theater space. The main element is the back wall, which is a single large color surface with constantly changing colours. It goes in soft pastels, different gradations and powerful surfaces. This is how the theater room itself sets the mood and lets the characters on stage become silhouettes into a sunset, a cold winter day, hot summer days and gray weekdays. A few light curtains allow the actors to hide, creating small spaces on the stage in, behind and below them. The long curtains have a kind of romantic feel to them in terms of form, and it is a successful move, not least considering the tour format. BEAUTIFUL: Large areas of color create an aesthetic and exciting space in “No and no again”. They set the mood, and the color changes are effective. In addition, a beautiful silhouette effect is created. From left: Mari Hauge Einbu, Ingunn \u00d8yen and Anders Mordal. Photo: Stian Lysberg Solum \/ NTB It may save the theater performance, but the story is and will be predictable and tame. Director Maren Bj\u00f8rseth has made many critically acclaimed performances in recent years – everything from a refreshing version of the play “Elden” at R\u00f8ros to making theater of Simon Stranger’s “Lexicon of Light and Darkness” at Tr\u00f8ndelag Teater and “My brilliant friend” at Oslo Nye Theatre. But it doesn’t quite fit here. This despite fixed transitions and a clear story that will probably have many recognizable moments for those who have been in a longer relationship over time. The show fails to do much other than confirm the world as it is. I would like to believe that there is potential for more here. It is said that reality is always worse than fiction. For the sake of excitement, let’s really hope so. news reviews Photo: Riksteatret Title: “No and no again” By: Nina Lykke Theatre: Riksteatret When: 16 February 2023, Nydalen. Going on tour until May 16 in 49 places around the country. Actors: Ingunn \u00d8yen, Anders Mordal and Mari Hauge Einbu. Director: Maren E. Bj\u00f8rseth Playwright: Liv Helg\u00f8e Set designer: Signe Gerda Langfald Costume designer: Marianne Sembsmoen Lighting designer: Ingrid Skanke H\u00f8s\u00f8ien Sound designer\/composer: Alf Lund Godbolt Choreographer: Ida Wigdel Playwright: Kristofer Blindheim Gr\u00f8nskag Producer: Silje Vigerust Vinjar
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The middle-aged person’s life can be full of frustrations. The decadent folly of the upper middle class to laugh at. But turning the mediocre lives of mediated people into art requires a kind of lift, an undermining or displacement. And the theater version of Nina Lykke’s novel “No and no again” fails to live up […]<\/p>\n","protected":false},"author":1,"featured_media":34664,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[225,224,7372],"class_list":["post-34663","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","tag-recommendations","tag-reviews","tag-riksteatret"],"_links":{"self":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/34663","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/comments?post=34663"}],"version-history":[{"count":0,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/posts\/34663\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media\/34664"}],"wp:attachment":[{"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/media?parent=34663"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/categories?post=34663"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/teknomers.com\/en\/wp-json\/wp\/v2\/tags?post=34663"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}