Theater
the Journey to julestjernen
By Sverre Brandt, music: Johan Halvorsen
national theatre
Director: Kjersti Horn
Scenography and costumes: Kaja Ebbel Frederiksen
Choreography: Birgitte Olsenlund and Mikkel Are Olsenlund
Musical direction: Per Christian Revholt
By: Selome Emnetu/Kjersti Tveterås, Espen Alknes, Emil Johnsen,
Gisken Armand, Iselin Shumba, Kingsford Siayor m.fl.
In 92 years, Sverre brandt’s Journey to the julestjernen provided for the christmas spirit to the public and money in the checkout to the national theatre. It has been a tradition that has upset teaterkjennere as much as it has delighted the finance department.
Why can’t we put up something new? What is the point of serving a eiegod Sonja and the dancing snowflakes again? Want to husregissør Kjersti Horn have gotten the job with to send julestjernen out on the journey to our modern time. It is a journey that just almost comes right up.
Julestjernen anno 2016 is charming, funny and likeable – but also a bit like grandma’s kamferdropseske. It evokes nostalgia, but is too sticky to fall in the taste for young palates. More on that later.
the Star is the designer
Let me first present the evening’s biggest poinsettia: Scenograf and costume designer Kaja Ebbel Frederiksen. She has created a universe that is small performances in themselves, and that speaks to at least four generations of audience members.
Gulldressen, nakkekraven and designerskjerfet to the count, århundreskiftekåpene to the snowflakes, 60′s Hairspray-the style of a daughter – and not least your children who are small hverdagsmennesker from our own time.
the Scenography is as magical as it is intelligent. Julemannen has been given a christmassy cabin, and a plaststol which places him in the lower klassesjikt. He lives on an outpost of the north Pole, with a festive seals and lekedansere as stepper and dancer christmas.
Both scenograf and director have borrowed the skoleforestillingens charm and aesthetics, and it works out quite as nice. When a small boy with sølvguttstemme, pappvinger and olabukse sings “Silent night”, one gets goose bumps.
It is a scene which carries within itself the best of the Horn and the Frederiksens poinsettia. Tradition and modernity, sanctuary and humanity, hand in hand.
Confusing journey
But there is a feeling that comes a little too late, in a performance that will more than the get to. The journey to julestjernen encounter the same problems as voksendramatikk that are sent into our time in rakettfart.
the Story does not speak to today’s children. “I think I’m most like a daughter,” said my 13-year-old teaterfølge. Sonja realized she’s not as much of. Even had I read the manuscript in advance, and set three teaterversjoner earlier.
Nevertheless: I dropped a bit of on the road to julestjernen. What happened with the count on the sopelimen? When came the wind? And where did the of Sonja in all the myriad? My. grip symptomatic after your phone.
Should get bøllekurs
Selome Emnetu (alternating with Kjersti Tveterås) should have had more to play as Sonja. “Why is she not more specific”, said 13-year-old afterwards.
his Wife nekene (a very memorable Heidi Goldmann) felt more relevant than the main character. Dressed as a poor woman of today, kicked her both fresh and sorely back da Gucci-the count attacks her.
his Wife nekene should therefore given bøllekurs – and not fuglenek – to Sonja.
Well worth the ticket price
My critical objections notwithstanding, the Journey to julestjernen is well worth the trip to the theatre. The offers on the festive villains, beautiful images and charming children.
But the next version I hope to cut out a couple of allsanger and rather use the time to create a Sonja of today.
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