Kåre Conradi and The Norwegian Ibsen Company have collaborated with Haptiq AS, VisitOSLO, Good Morning Naug and Eiendomsspar AS to develop ‘Oslo Spex‘, so you can join Henrik Ibsen on a tour through the streets of Oslo.
More than a 100 years ago, Henrik Ibsen was a well-known sight on the streets of Oslo – “and now he’s back”, says Widar Pastoor at VisitOSLO. He continues: – The format is playful and engaging – you can even take a picture with Ibsen!
Oslo Spex is a new augmented reality (AR)-application, free of charge, for smart phones with focus on Henrik Ibsen and Oslo. In the app you get information through sound and text, both in English and Norwegian.
Artistic Director Kåre Conradi, Pia Tjelta and a wonderful cast continue the successful run of The National Theatre of Norway‘s production of Little Eyolf directed by Sofia Jupither.
This production will be on the main stage of The National Theatre of Norway from 24 May to 1 June 2019. Further information: www.nationaltheatret.no
Actor and Artistic Director Kåre Conradi is invited to Skien during The Ibsen Week to perform his well travelled and acclaimed one man storytelling of Peer Gynt.
A story of being a liar or perhaps a poet throughout your entire life only to realize towards the end you haven’t been yourself.
Ibsenhuset theatre, Skien, Norway. Tuesday 19th March. In Norwegian, one hour and join us for conversation with audience after performance.
Saturday 2 March 2019, 8.06pm BBC WORLD SERVICE RADIO: THE ARTS HOUR
Nikki Bedi is joined by film critic Tara Judah and by actor and Kåre Conradi artistic director of The Norwegian Ibsen Company, who discusses his latest theatre production, The Lady from the Sea.
The first London reviews of The Lady of the Sea have just been published.
Dave Hollander from THE STAGE called the show “A mesmeric performance. Beautifully conceived bilingual update of Ibsen’s drama about loss and longing, with a mesmeric central performance.”
Tom Wicker from TIME OUT said “The Norwegians show us how Ibsen ought to be done with this powerful bilingual revival.“
“The cast are superb and work as a finely tuned machine.”Cindy Marcolina from BROADWAY WORLD.
On Oslo’s Victoria Terrasse there’s a white door marked 108. Behind it was once an office in the Norwegian Ministry of Foreign Affairs, but before that, late in the 19th century, these rooms were occupied by a figure who has done more for Norway’s reputation abroad than all of its foreign ministers put together.
This was the apartment of Henrik Ibsen, generally regarded as the second-greatest playwright ever, and the second most-performed dramatist in the world. In both these criteria he is bested only by Shakespeare.
Ibsen’s living quarters have now become a significant venue in his thriving theatrical afterlife. For a week in January, two of Norway’s leading classical actors – Kåre Conradi and Pia Tjelta – were rehearsing here with a cast of Norwegian and UK-based actors for a bilingual production of Ibsen’s 1888 play The Lady from the Sea, which premieres this week in London.
The Norwegian Ibsen Company & Print Room at the Coronet present The Lady from the Sea by Henrik Ibsen
In a new version by Mari Vatne Kjeldstadli Based on the translation by May-Brit Akerholt Directed by Marit Moum Aune
The Print Room at the Coronet are joining forces with the Norwegian Ibsen Company for a new production of Henrik Ibsen’s timeless story of self-determination. With creative teams from UK and Norway, this new staging brings with it a deep connection to the Norwegian culture in which Ibsen lived.
“Exhilarating… this is Ibsen with the gloves off”
The Guardian on the National Theatre of Norway’s Little Eyolf at the Print Room
Ellida, a lighthouse keeper’s daughter, was born where the fjord meets the ocean. Now trapped in a difficult marriage to a British doctor, Ellida longs for the open sea. Will the return of a former lover offer her a real choice?
A story of self-determination, modern families, loving other people’s children, and always looking for the perfect relationship, The Lady from the Sea was shocking in its challenge of societal norms when it premiered in 1889.
To mark the 130th anniversary of The Lady from the Sea, we’re thrilled to be collaborating with the Norwegian Ibsen Company for this new staging, which brings with it a deep connection to the Norwegian culture in which Ibsen lived: from its close relationship with nature, to the effect of the midnight sun on its inhabitants in the far north.
With performers and creatives from both UK and Norway, The Lady from the Sea follows the Print Room’s hugely successful 2018 collaboration with National Theatre of Norway and in co-operation with The Norwegian Ibsen Company, Little Eyolf, with many of the team returning for this shattering new production.
Both Norwegian and English will be spoken during the performance, with English surtitles for the Norwegian sections.
Little Eyolf review – exhilarating Ibsen from Norway’s National Theatre
“It is the fashion these days to strip Ibsen to the bone. This exhilarating production from Norway’s National Theatre – played in Norwegian with surtitles – is very much in the modern mode. It runs, like Richard Eyre’s 2015 Almeida version, for a brisk 85 minutes, and is played in modern dress with mostly bare feet and minimal furniture. It leaves you, as all good Ibsen should, quietly shattered.
Guilt is the prevailing theme as Rita and Alfred Allmers try to repair a marriage already haunted by the accident that happened to their boy, Eyolf, when they were preoccupied in making love. What is especially striking about Sofia Jupither’s production is its realisation of Ibsen’s sexual candour. Pia Tjelta’s Rita can hardly keep her hands off Kåre Conradi’s withdrawn Alfred as he returns from a six-week walking tour in the mountains and unbuttons his shirt with frenzy. Alfred’s passion for his half-sister, Asta, is more decorously expressed but no less intense. The most shocking revelation comes when we learn that Alfred, who used to call Asta “Little Eyolf”, cried out that name at a moment of orgasm with his wife. Written in 1894, the play emerges as both breathtakingly honest and the ancestor of soul-baring modern dramas by Eugene O’Neill, Tennessee Williams and Edward Albee.
Jupither’s production also brings out Ibsen’s grim humour. When Tjelta’s superb Rita, a Lady Macbeth of the fjords, announces that she intends to devote herself to looking after neglected children, one’s initial response is that the police should be alerted. Conradi captures perfectly Alfred’s self-regarding intellectualism, and there is fine support from Ine Jansen as an anguished Asta and from Andrine Sæther, who turns the symbolic figure of the Rat-Wife, sensing something troublesome gnawing away in the house, into a hippy Pied Piper. This is Ibsen with the gloves off, and the only sadness is that the production was given a bare three-night run. Someone should invite this company back to give us an extended Ibsen season.”
**** Michael Billington, The Guardian (20 April 2018)
