Do you think I was too harsh on Silas Holst?
Yes, I think you were.Why?It was about a choice of words.It was down to the words that made the difference for me.You could have taken a word out, and then I would have read something completely different.
But not when you read it in connection with the rest of the intro.
Okay, then let's take it when we talk about Saturday Night Fever.Welcome to this episode of The 4Way.
As you may have noticed, we've been watching the disco musical Saturday Night Fever, and what exactly is going on with it, Silas Holtz, we'll get to in a moment.
But first I have to say that we've been in the theater a lot since last year, so we have a lot of performances we have to go through in this episode.Do you want to start again?We have to go around.
We're going to talk about Saturday Night Fever, a musical.We're going to talk about Wicked, which we've been looking forward to watching for a long time, also a musical.We're going to talk about Anastasia, a musical.
There were a lot of lines, a lot of ideas.We're going to talk about Ibsen's retakes on House of Cards and Who's Afraid of Virginia Woolf on Black Horse. There's plenty to look forward to.
So let's not get carried away with that Silas Holtsby joke.Yes, let's do it.Because Clara, as you just said, you think I was a bit too harsh in my review.Yes.I don't think I was harsh in any way.No, you actually thought it was a bit cute. Well, yes!
Yes, yes!Because I was like... I think my criticism was very justified, and we'll get back to that.And I actually think that I'm writing that I really want to see him in something else now.
Which means that I would like to see Silas Holst, because I think he's cool.When he's on stage.
You just shouldn't see him as a kid.
I wouldn't say that.I would just say, as I wrote in my review, that I think he has played his part as a teenager on Madehorse 4.
He's 41 years old in reality, and I wouldn't shame anyone, but it's hard to believe that he's a teenager when he's 41, and when the rest of the cast is extremely young, and maybe closer to teenage years than Silas Holster.
Well, I agree with you, actually.Or not actually, that's me.I agree with you a lot.And we've talked about it many times, so I don't think any of you are in doubt about that.But that's what happened.Let me take you on a journey.
You post your review on Instagram.I read it.I take myself in and say, oh, when I get through.And you know what?There is so much, as we just said in the intro, it's about... specific word.
It's a simple addition of a small twist that was like this in the original version, right?
Yes, because note is, I changed it because you read it like that, and I thought, that's not how I mean it, and if someone can read it like that, shouldn't it be there?Because I don't want to be a disappointment in my review.
Exactly, and now I'm reading it in a way, and I also think it's about the way you read it.I'll try to read it the way you read it.Now I'm reading it the way I heard it. I'll take the whole first sentence.Yes.
Silas Holst, next last dance show, nothing less.That's how they have, at least a little rough, sold the reissue of the 70s disco musical.And it may be very nice that it is approaching a dance ending, dance ending, for the good Silas Holst.
For the scenic overview is not what it has been, and he has in turn played his part of kicking on Madehor's first lovers.That's how I read it.Yes. And it was the sequel called Den gode Silas Holst.
Because in my reading it was like... Den gode Silas Holst.You have to explain that to me.For me it became a degrading way to talk about it.Like when you're like... Oh, cutie. The good one.Is it true?Yes.
No, and I could understand that, because I wrote to you, I was like, hold up.Then you are... Sour on Silas Holst.No, not at all.
And then I got some others, I got someone at work to read it for themselves, because I was like, am I the one who is reading something into this?And then I said, do you want to read a review? Then someone said, is it the one about Silas Holst?
So they had also read it as a... But then you wrote that you had gotten someone else to read it yourself.
I got an actor to read it, because I was like, if you're an actor... Yes, how do you do it exactly?I don't think it should hurt.Of course it's hard to get criticism for one's work.I would agree with that.But it should never be degrading criticism.
It should be well-founded, I think, when you're in a review.
And I don't know if you got to read it aloud.I think it was a compliment you gave Silas Holtz.
Yes, because it continues with me saying, last but not least, after a lot of other things, I say, He has proven for a long time that he, in addition to dancing and singing, has a good sense of timing and delivery of lines.
So let's hope that the point meeting gives him the opportunity to actually develop his fine talent even more.So he was, you know, the one I got to read, it was a lot like, you say there are almost only good things about him.
And you call him the good Silas Holst.He is good. I didn't mean it like that.When I say, the good Silas Holst, I mean that he's good at what he does.I don't think it's Dutch to say, Den gode fyr.Den gode svæk.
Ja, ja.Den gode mandsvæk.Jeg forstår 100% og især når vi snakker på den her måde, men jeg synes bare det var så spændende at læse den der anmeldelse og ha så forskellig en læsning af en anmeldelse der...
There's a lot of clarity in what it says, but that I got so many different answers from who I got to read it was just fun, and it made me think about how we write reviews, or how people read reviews.Yeah, also because we actually want to...
We would like to try to break with the traditional way of writing reviews, because we would like to try to write in a more... Now I say that in a more annoying way, fresher language.
Without it having to be written in a fresh guy-like, fresh girl-like way.But we would like to hit something that is readable on a media like Instagram.We have also limited space to do so.
But it must also be something that people who are under 50 can speak to them in a way. And the way we ourselves can read about things on Instagram, when we read about books on Instagram, as many people do.So it's about finding the average in that.
But I was extremely surprised that it could be read in that way. It's also about giving a lot of space to one player in this show, because it's actually not him I'm looking for.
I'm looking for casting of him, because I think he's off, and I always hate money cast, I think it's annoying when you only cast for money, but Silas Holst can play well, so that's why I'm like... By all means, hire him.
But hire him for something that fits his age, and something that can develop his talent.Because he has almost only been allowed to play 80-year-olds, you know, with long hair.
I totally agree.And that was exactly my point.It's about the casting.It's really not about Silas Solz.Now it's Silas Solz who's on target, because it's him who's on stage.But in reality, it's the producers of all the creative team behind it.
Or the team behind it, not the creative team.But those who hire him. And they do it for a very clear reason, and so many people need to see that show as much as possible.It's just crazy here when everyone else is of a completely different age.
Yes, completely.And one can say that the primary criticism of the musical, also in my opinion, is not Silas Holst, it is that the plot is insanely thin, and I think it's crazy. It's a really boring musical!
So that's what I'm more interested in, and I'm interested in the commercial way of making musicals, which I think we see a lot in the commercial branch of the industry, with the entertainment and show for every price, and it's at the expense of good theatre art.
And I think that Saturday Night Fever, as it is, is a prime example of that.
Speaking of not having enough space to write everything you want to say about a work, then I had it with Wicked.Then it's good that we have a podcast where we can talk freely.
Wicked, which has just had a premiere at Fredericia Musical Theater with Johanne Milan and Nana Rossen in the lead role.The lead roles.The lead roles. Yes, they are two people.They are two people, they play each of their roles.
Wicked is directed by Thomas A.A.Holm and then it's the good old Benjamin Lacour who has made the scenography.Of course.I don't understand when that man sings.He has a lot of time in his life.But obviously no time, because he does everything.
But he has more time than the others have for anything.
I think he has that Hermione Granger in Harry Potter. Yes!That's what he has.I always think that when people do a lot of work.Is it really there?You have cracked the code.Is it a secret that someone has introduced you to the world?
Have they gone to Hogwarts?What's going on?But yes, Benny Minicure does everything.
Yes, and it looks good.And we can come back to that, because it's one of the things I didn't have enough space to write about.How beautiful it was.Yes, how beautiful it was.I think it was a really beautiful Wicked.
But for those who don't know Wicked, shall we tell what it's about?
Yes, and I think especially because you can prepare yourself a bit, because it's going to be a wicked sequel.
Because not only does it take place in Denmark, in Fredericia and shortly in Copenhagen in the aftermath, but there will also be the first part of a long-awaited wicked film with Ariana Grande. through the main characters, right?
Yes, it will be more than just one Wicked year, it will be several Wicked years.It will be a Wicked period.Yes, exactly.Do you want to tell what it's about?I can do that.Wicked is a side story to the good old The Wizard of Oz.
You know, the one with The Yellow Brick Road and little Dorothy and the red shoes, and a tin man, a lion, and a scarecrow, and all that.If you don't know it, google it.You have to know it.And you have to see it.It's a mistake, if you don't.
It's the story of how the evil witch, the Wicked Witch from the West, became evil.She's the green witch that Dorothy makes disappear with water.She beats the evil witch in hell with water.But it's the prehistory to her.
It's pretty sympathetic that you want to give her a prehistory and also tell her that she's not evil.But in short, it's about Elphaba, the evil witch, who is born green. For some reason, I don't know why.And she suffers during her whole life.
She has to start at this witch school, but mostly to be there for her sister, Nezaros, who is in the wheelchair.And at this school she meets Glinda.A girl, Linda.A girl, Linda, with a girl. which is this very superficial, rich, white girl.
And magically, the two become friends.A magical friendship.
But nothing is as it seems to be in something of River Ravnosnegal, because we are a country where animals can speak, and where they teach at school, but slowly the animals begin to lose their language, and everything that is different begins to disappear and be packed away.
And one day Elphaba is chosen to meet the wizard of Oz, the great wizard of Oz.And then things happen.Because things are not as they seem to be in Oz.And maybe the wizard has something to do with it.And maybe Elphaba has great magical powers.
We can't say more about that. It's actually quite difficult to make short in the plot, other than an unbearable friendship arises and things are not as they seem to be.
But that's because it's a musical that is actually extremely ambitious in the narrative it wants to reach. And what can I say, tell, during the 2-3 hours it spins over.
And I think that's really nice, and I think that's one of the reasons why it has had such a big success, played for so many years on Broadway and West End.
It's been playing non-stop in London since 2006.Exactly.
I think it's because it manages to create a universe in a very short time, which we quickly fall into.
Of course, there's something you know from The Wizard of Oz, but there's some universe creation, which is almost like Harry Potter, with a witch school and stuff.
There's a very strong story about friendship and being different, and having the right to be here, to find your powers. And then there are insanely good songs, and actually a pretty captivating story.I think it's some insanely good songs.Yeah.
I don't think there's a musical fan in the world who hasn't scrolled along to Defying Gravity at some point.
And the music is clearly one of the reasons why I've seen the musical several times.Because I also think it's so impressive what the singers who are in this research are capable of.It's really some crazy singing skills to have.
Yes, and the same reason that some roles, Glinda and Elphaba, are quite difficult to cast, because they require so much vocals from the one who plays them.And also in terms of acting, because a role like Glinda is not easy to play.
She has to be both extremely funny and sing completely absurdly well.I can understand that the Elphaba role has to be split in two, because it's hard to sing, but sometimes I think,
Glinda is an underrated role in this, because what she does, at least what Johan Milan does in this, is technically so brain-dead.
It's because she's on the verge of being stupid in the game, because she's quite...
Unintelligent in many parts of the performance, but has so much heart and so much strangeness that there's a limit, a very small limit, where it's on its way to something that can be catastrophically bad.
Because it's so hard to play dumb the way she should play dumb.
And actually her development, yes. On paper, I find Elphabas much more interesting, because she's more traditional.The one who was outside finds her strength and power again.Finds her calf, in a way.
Glinda's journey is much more... There's something deep in it, which has to be played out through all the gagging and fun that the role is in, just as you enjoy her.I think that's a difficult task.
But let's start there, because the biggest thing about this show is the two main characters.And it's, as we've already said, Johanne Milan plays Gerlinda, who is the white witch, and Nana Rossen plays the green witch Elphaba.
And I think, now I've seen this musical, maybe... This was probably the seventh time.Yeah, same.I've seen it many times.I have... I don't think so.I've never seen a couple play as well as I saw it here.
It's so incredibly difficult for a couple to play, because they are so different, and you have to feel for both of them, even though both of them are really annoying.But Johanne and Nana...
They have so much chemistry that you just surrender completely to that story about them, and you want them to be friends.You're like, you fit so well together and so badly together.And they play insanely well.
We often talk about the big difference between being educated to play musicals and being educated to play traditional theater.That it's a very thin fine line, how you play those two things.
And then you just have to say, those who are educated from the musical academy, they have just as long an education as the actors, but have to learn three things.
on those three years, contrary to the actors who have to learn acting, it's tough, right?But it's clear that they are sometimes not as good in acting because their focus should also have been on dance and singing, right?
I think Nana and Johanne's play is wildly touching.I took myself several times just like that and gave myself all the way to their friendship and I think that in itself was just so touching.I'm just as happy with those love stories.
Go Væk, Fjæro!Go Væk, Fjæro! I totally agree, and I think that's what's great about Thomas Egerholm's instruction.That he has focused on friendship.It's as if he... I don't know, but it seems to be the case.
He said, this is the most important thing in the story, and if we do this... completely crystal clear for everyone that the rest of the story is clearly ahead.Because now we saw New London in December, which was an ugly show.
It was the one that everyone was playing over.My god, they were tired, right?They were literally tired.They were gaping under the applause.No one dared to say their lines correctly.They just laughed it off, right?
And then you could feel that if no one meant anything by this, and if there is no focus anywhere, Then it's a long story where you forget everything that happens, and it's a calm story.
But because he has focused on that friendship so clearly, it just plays out.
And just a full disclaimer, I'm private friends with Henne Mieland, so I don't say much about her, other than that I, apart from the friendship, think it was extremely impressive what the two of them did vocally.
I can't remember seeing anything like that on a Danish musical scene before.It's insane what they can do with their voices. And Clara, I was crying!Already after the first act?
I couldn't stop, and I was like... I'm telling my mom, but it's too early, mom.I'm already taking a break.When do you cry?When do you feel the tears pressing down?Well, there's definitely something in that friendship.
Actually... I mean... You're starting to cry again.It's right before my eyes when they sing Popular. And that's where their friendship starts to bloom.
And it's a fairytale song, because it's about Glinda singing about her saying that she should make Alphabet popular.And I think it was quite liberating that it was sung quite unscathed.
There's a famous line that goes... And it can be sung quite beautifully.It can also be sung as cruelly as Johanne Miller did it here, I think.Because she also had to dance and be like... too much.
I mentioned it a bit in the eyes, because you could feel their chemistry.And then it was full-blown, I mean grey, towards the end of the first act.
And already when the first notes are being played by Defying Gravity, I grab the chair I'm sitting in, and I can't stop, it just bursts out of my eyes.
And I feel like the biggest nerd in the world, because I was like, who am I?I'm just whining about the starting notes on Defying Gravity.But it's because it was built so well with the game, and you know, now comes that big song.
And we were lucky that Anna Rossem could sing it, because we had heard it at Røymond.So I wasn't nervous like I sometimes am when someone has to sing the one where you think,
Can she really get all the way up on those awful high notes and can she build it?If only she could.
So it was both a joy of expectation to hear Nana Rødsen sing it, who once sang in The Waterworks, that it is such a dramatic high point in that performance.And then it's Nana Rødsen's way of singing it.
Because what makes her sing this so extremely well is that it is far beyond being technically good. Because you're like, I'm totally fine with that.But what she does is, she plays first, and then she lets the rest come.
She's calm, she can hit the notes and everything that goes with it, but she plays first and foremost.And I think that makes it extra moving to hear that song.
Because you're like... I just 100% believe that it's about being the underdog who finally finds his calling.And just like... Now I'm screaming for it all.Fuck yeah.
I want to start by saying that you were far from the first one who sat and cried after that song.Because I could hear... I could hear the waterworks.The whole time I was crying.I think there were many after I heard people say like...
Then we have to prepare a theme for it.
But I would say that it's also the acting that doesn't do it for me.And now I have just said that I was a bit like happy with the love story.I still am.But in another act there is a love duet between Fiyero and Elphaba.
And the first lines, it's like this song where it goes up for Elphaba, that she can actually be loved.Now Lina is crying again.Yes, I'm actually doing that.I can't.Oh, it was so good to sleep down on the beach.
But it was actually just the first lines of Nana Rossen, and they just came out of a door, and she looked It was completely down to the way she just looked at him, and a little smile, and then that song just came out of nowhere.
And it was about love, but it was also about her journey. Which made me think, oh, this is acting!Or this is theater, or this is the magic that musicals can have.
And as I write in my reviews, I think I've missed the Danish musical scene a lot the last few years.It was so liberating that it was that that got me.It didn't necessarily have to be the singing skills. I think it's a very moving performance.
They did a good job.There's one last thing we need to talk about.I really want to talk about that.Visually, it plays into the performance, and we were nervous about it. where it should go, because we love this show.
And because Fredericia Tater is not the world's biggest Tater.And they have solved that very often with LED screens, which can make room quite magically very quickly, because you can just put it on the screen.I know it's also an art.
And it makes the room physically bigger in a way, that they are there. It's the same they're doing here, but the most beautiful animations I've seen so far, it's almost like what you've seen in the trailer for the movie.
I think they've made the scene extremely magical, very, very beautiful and used their screens quite effectively.I think some of the costumes... Where I think, well, relax.I sent you a picture of a professor called Dr. Dillamond, who is a goat.
It sounds weird if you can't see it, but here he is.He sends you a picture from West End, where it's a very shapely goat.
You've built a whole head, without a head, with various prostheses.
He's not going to be an example, among other things.He is the goat.And is very, very handsome like a goat.Then they have chosen to take a picture of Christian Lund in his goat costume as Dr. Dillemand.
And there you have to say, when you hold the two pictures up against each other, then it becomes a little goat from Temo.It's a goat hat. It's a winter hat.It's a winter hat that goes down over the nose.
The picture is on the internet, so you can find it.But when I saw it, I thought, oh no, what's going to happen?But I just have to say it.
Kristian Lund plays it really well, so I was just like... Yeah, and he has to be in every ensemble, so there's a reason for that.
It was a bit embarrassing, we saw the pictures first, but... The costumes are 10 years old, I think.Yeah, I agree.Not the dresses, I think the dresses were very, very beautiful.
And worked really well, and were actually a bit updated as to how to do it. But I agree with you that the LED screens work really well.It's also up to me that I've never thought about how chess, which is this university, witch school, looks like.
Because it's usually just some props and some benches and such. A board that was brought in.But in Benjamin Lacour's scenography, they made the schiz scenography on video.And suddenly I was like, God, yes, that's a place.
It's not just a scenography, it's a place.Yes, yes.That has gold all over it and looks like a light version of Hogwarts.Yes, exactly.And as you say, it looks like what we've seen in the trailers so far in the movie.
I think it was very well-functioning with that scenography.It really suited the musical, that it got some visualizations and not just a green scenography.
Yes, exactly.You could be afraid of that.
I think it was really nice that it actually showed some room and didn't become abstract.It was concrete and I really liked it.
I really think it was great.I think there has been a musical turk for a long time now.
And this was just like... I was so happy we agreed, because I would have thought it was so embarrassing and humiliating, so violent, if you just went out and thought, yes, it's fine, it's fine.
And nothing.I just want to say that people should go in and see this musical.I just think you should come here.You have the opportunity to see it in Fredericia, which is the version we have seen, or to see it in Copenhagen.The actors now.
You play for a week, you play in the winter, in the autumn.Of course.In Tivoli.A trip to see something Halloween.
I've been that musical girl, when people have asked, what should I see right now?And then people are like, should you go to Svart Sandvittighed?Everyone talks about it.I've been like, yes.Or Wicked.
Or Wicked you could also see.I've been like, if I have to say it honestly, then I actually think Wicked is better.
I'm very honest.If you choose Musical.land, then it's Wicked you should see.And it plays until November 24th.
Wicked is not the only musical that has surprised Støtt Klar.And now we're going to sound like some crazy people, who just think the album is bad about everything we're going to see.
But I just have to say, with the new theater, I've been a little, for some time, wondering how it's going to be, when we go in and see it.
Because I think they have a little bit of a reputation for being a dead old lady, who does very conservative productions.Because in musicals, Denmark just brags about it, as if they can't keep up.
They're going to make Anastasia, which we saw on Broadway six years ago, in 2008, and I thought it was really boring.
Yes, it was pretty boring.The highlight was the singing.
Yes, as you know in advance from the movie, right?So for that reason I was nervous.Because we had seen it as a boring musical, or because it's a new theater and there's always bad sound in it.The one who makes them.
There's a new director in there, you could say.New and new.It's him who has been, I don't know, in the right hand.It's probably not the official title. But he has been the next commander in there, Kasper Becknes, under Niels Brubelgren.
Now Kasper Becknes has taken over.And it's his first assignment in there as a director.Anastasia is instructed by one called Lee Proud.And the set design and costumes are made by an international set designer called Gabriela Talseveld.
I don't know if you've seen it.Tulesova.Tulesova.Tulesova.Tulesova.Gabriela, right?
And then there's Emil Groth, who plays Anastasia, or Anja.And Mathias Hartmann, Niklasen, who plays Dimitri.And then there's Kim Harmel, Svangerljude Stein, Gjermar Annemordensen, all the good guys.All the classics.All the classics.
But of course, it surprised us positively.Yes, it did.Would you be the one to quickly say what Anastasia is about?Because you're obsessed with the cartoon.
Yes, I've seen it many times.You know it best, Vessi.Yes, I do.But before you go in and watch Anastasia on the new theater, you should know that it is not the one-to-one cartoon you should watch.
It is with inspiration in the cartoon and the real story about Anastasia, Zara's daughter. But in short, it's about Anja, who has a memory loss.She hit her head when she was very young, and doesn't know who she is.
She doesn't know who her family is, she doesn't know where she comes from.She just knows her name is Anja, and she has it a bit strange.
We know that she is the daughter of the tsar, Anastasia, and that her whole family was killed in a gruesome way when the revolution in Russia broke out and the whole tsar family was to be killed.
Anja is looking for a meaning in life and hears about this man called Dimitri, who might be able to help her get some papers. The only thing she knows is that there was something going on in Paris.
But Dimitri, who is good friends with Vlad, is the best swindler there is.He is just as old as Anja, and has been a part of the whole revolution, has been a child of it.He carries a few things.
Vlad has been a part of, not the elite, but a swindler who has managed to be a part of the elite anyway. has had a great boyfriend, who is now, funnily enough, in Paris.
Anja looks for these two to get the divorce papers, and they see a chance to reunite Inge, the empress, with her long-lost grandchild, Anastasia.
Inge Carlsen has also heard rumors that Anastasia should have survived, and that's why she put a dessert on the right edge for those who can find it.
A huge dessert.Many people want to have their fingers in it, including Dimitri and Vlad.So they spend many weeks getting Anja to be Anastasia, and then maybe find out who she really is. And then they go to Paris.And then they go to Paris.
And where the movie separates itself from the musical or vice versa, is all the magic that is part of the movie.Rasputin and Bartok.The evil.The evil with all the magical powers.
And his little follower, Bartok, who has his own movie, if you haven't seen it.It's a flower house.It's a flower house.It's not part of the musical, it's instead the Russian... Bolsheviks.The Bolsheviks, yes. They are the bad guys.
And especially a general.Especially a general, his name is Glab.Glab, who is played by Mikkel H.E.Knudsen.
I would like to ask you, as the Anastasia-lover you are... Connoisseur.Connoisseur, you can also call it.And who invited me to see Anastasia in New York instead of in New York.
I would like to ask you... I would like to ask you... How do you feel about the new date, Clara? Surprisingly good.Your highlight.What was it?
My highlight is Julia Steinke, who plays Lily, and Kim Hammelswang's Vlad.They have a duet about their love.And I actually remember that it was our highlight in New York.
Because all of a sudden there was an incredible energy in a musical that was a bit heavy, sad and grey.And I remember that highlight, and the two actors who played it in New York.
And I still think it's the highlight for me in this movie, or in this musical.Besides, of course, the songs, which are... The best songs in a danish cartoon or in a cartoon.Okay.No, but it's up there.
Maybe you know Journey to the Past.Yes.In danish.Let me find home.And Once Upon a December.For a long time since a winter, it's called. A long time since a winter.And then some might also know, you mentioned it just before.
Paris holds the key to my heart.
They hold the key to your heart.
Which is the opening on the second act.
Yes.Those were my highlights.What were your highlights?Did you have any highlights?I managed Julie Steinkamp and Kim Hammerswang.Because I think that the two, very clearly, they do a little better in something I call in a very emotional material.
There's a lot of emotion in this.And I think they highlight that better, the more experienced actors on stage, also Marianne Mortensen, who plays Enge Kajsainen.
But they can both be in the emotions and in the fun, and because they're fun, it's clear, it's for them to love.I was just about to say, yes.But they play it really well, and I really think Kim Hammelsvang is a good actor.Yes, he is.
Speaking of being a good musical actor. Because he is extremely good at making characters that are actually credible.Especially sometimes it has to be those a little crazy guys.
And he did that well in Miss Saigon, even if it was a childish performance.Then he just stood out very much.It's wildly charming to see the two songs together, I think.Yes, it gets electrically fun with the two, I think.
I really think that was a high point, and lifted the whole thing.Because I would say, game-wise, Was there sometimes a long way again?It wasn't bad.But Anastasia, let's talk about her.Anja, Emilie Groot.She is a Disney princess.Emilie Groot.
She sings wonderfully.And I had goosebumps all over my body when she sang Journeys to the Past and ended the first day with it.She also plays a lot like a Disney princess.And it's something like, when I'm cold, I pull very quickly.
It's very on-the-nose all the time. And she's good at looking lost and confused.And that sounds like... The good Silje Solst.Yes, but I actually mean it correctly.
I think she's good at it.
I think you're lost and confused.But I could miss a bit of that edge, I think the role has.Because she's a pretty bloody violent character in the movie.
I don't think the musical is capable of what we saw in New York.Anya in the movie is just like, I don't care what you say to me.I'm my own, and I go my own way.
And it starts out completely blank, and then they have to go further into the story before it suddenly changes and you're a completely different character. is a bit sad, because it makes the energy last a bit.
You get a bit like... Yeah, also because it's not written out of character.It's not because she's 100% a stalker on paper.She has a fight scene, where she says, I've managed, I've gone alone from what... She's gone far.She's gone to St.Petersburg.
She's stranded somewhere far away, and then she's gone all the way to St.Petersburg. And she says, like, I learned to deal with myself.And then you're like, okay, but where else is it in the character, other than the fight scene you have there?
So I missed that a bit.Mathias Birkheitman, who plays Dimitri, I actually think is good.He sings extremely well, we'll find out later.But throughout the first act, it's like he has to show us how evil Dimitri is as a character.
He's just an evil Russian guy.That's how he talks! He has a snare on his voice, and it hurts my throat to listen to him, because it sounds extremely exhausting.It's a distortion that has to be very expressive.
And it gets a little disturbing and a little troubling when it's such an over-the-top distortion.And also because it disappears.
I suppose he'll be happy when he gets to Paris, and then the snare disappears, because then he speaks completely different.
I imagine he's been like, I can't do it on my voice, I can't do this.
You had to pause and be like, cut.
Yes, because it disappears with one.He speaks normally, and you can feel that it works a lot better for that character when you don't strain yourself.
It's in every way more believable today that it shouldn't be Hez.And it doesn't make sense to me, it doesn't have to be Hez.He's also a Disney prince.And he has to be.He's the one we all have to fall in love with.
I also think that the musical actually has some of those moments that are touching, because it's about war and people on the run.
And the first act of the musical ends with them taking the train to Paris, where all those who have to flee stand on the platform and say goodbye to their motherland.
Yes, they say goodbye to everything they know, and now we have to go somewhere else, and we know we won't come back.And we also know that some of them probably won't even make it to their destination.
It's a violent song, a bit like Cabaret, where they also stand and sing goodbye on the platform.
And I think that's a really strong moment, and I also think that they manage to make it a very moving and really uncomfortable moment in the setting of the new theatre.
Hey, what do you think about the scenography? I think it was here that the new theater showed some courage.
Yes, because it didn't look like the old gray tiles it used to have.Yes, it was very naturalistic.Yes, it was a bit abstract.It looked like sketch drawings mixed with some very abstract buildings.
I've sat next to you because I wanted to know what the hell was going on. It's pictures of buildings in St.Petersburg, which are put together in a sort of collage, where they're floating on top of each other and the stage.
So it's almost like... I'm going to say something super nerdy, but German Expressionism from the 1920s.We've both read films about it, so I know exactly what you mean.Exactly.And if you don't know it, you're screwed.
But it's a lot with some edges and a lot of rrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr
There's something called Russian avant-garde, which is a reference to the Russian film posters.When you google the artistic trends in Russia and Europe in the 1920s... I think it's good that you could see the inspiration in her scenography.
I also googled her as a scenographer, and it looks a bit like her style to do something like this, which takes the starting point in something real, but then twists it a bit, so it looks a bit dreamy in a way.
But I just sat there and thought, maybe I make her more brilliant than she is, but I was like, that's very well thought out.
Monique has looked a bit into what happened in Russia in the 1920s.
Yes, and then I think when we finally get to Paris, where it all gets a little more colorful and a little nicer.
But also a shot in the forms and the destruction of the forms, right?
I actually seriously think that you could see that they did a little something else.And I think it was an incredibly beautiful horizon of Paris, we saw when they finally are there, and they finally are like, this is it. This is where it happens.
It was quite beautiful.And I'm so happy that we have these musical experiences right now, because it gives me new hope.The sound is still shit.They still sit in a box some of them.Yes, they do.I understand that, but there must be a reason.
It must simply be impossible.
It's not the best technical detail.There is also a spinning scene that does not really want to spin so smoothly.
All the scenes chop me. When it's supposed to stop and start, it's supposed to be like... And you can feel that both people on stage and in the audience know it well.
Yes, also because they put some lamps on the dress with some... What are they called?Clear diamonds hanging down, so it's like...
And it's all clear and shuddering.When Julie Steinga gets on one of the boats and has to get out of it.And her whole body makes a noise, and she herself is like, yes, I know it well.
I love her for embracing it.And having a moment with the audience and being like, oh! I just snapped out of the scene.
She's wonderful, she can lift everything for me.But Clara, all in all, is it positive?I think it was a good experience.A step in the right direction for the new theater.
It was better than the one in New York.Absolutely.
100% better.And even those we have criticized a bit now, but it was still entertaining, it was still good.It was a lot higher level than there has been for a long time.
Very agreeable.You can see it until December 8th. Now I went to the Hushudstheater website to see when I should watch the reruns.Or the reruns.I don't know who called it the reruns.It's just called Reruns.Because we would like to see it.
I've heard all kinds of things about it.Are you crazy?It gets good reviews.It gets 5 stars all over the line.And I just have to say... I've heard something completely different from people I've heard and seen.Exciting!
Or not completely different, but... I've heard it was shit!No, not completely different.I've just heard people say, it was fine.It's a classic and you have to see it a bit.But not being up there and driving like I can see. Everyone is.You've seen it.
Yes, I have.I think I understand why reviewers do that.Is it something about classics?Yes, it's a feminist reading and it's super cool to be able to say you have a great analysis of it and wow, I understood it well.
It's the first part of a trilogy on Henrik Ibsen's dramas that they're doing on Husudstæler.In collaboration with Odense Theatre.
It's a question-and-answer trilogy on three of Ibsen's lesser-known works. That's what they say, right?I've never seen it before.And I wasn't super familiar with it until I started researching it more closely.No, I knew the title.
So in that way, it's very nice to get to see the others duck home with Ibsen on the Danish stage.I like the project, and I like the idea of putting some of the smaller works up and giving them space, actually.
Because the big works get plenty of space. In short, it's Liv Helm, the theatre director, who directs it.Her job on this classic, as she has done before, is to put a side character in the main character's place.
So she turns the way we see on the show.
She did it with Hamlet, and then she got Gertrude.Gertrude was the president again at the time.
The translated female characters give us the opportunity to see it from their point of view.Here we have the maiden, Regine, who in Ibsen's original work is a bi-character, but is still the turning point of the drama.
She is the main character in Liv Helms' version of it.So she's on stage all the time, it's her we follow, we see it all from her point of view. It's a performance that asks how much is inherited from traumas and motherly love and so on.
It's about this fine home, the home of the nobility, where the father died many years ago.The mother and her very unfortunate son Oswald are standing behind, who has come home from his artistic life in Paris.
And there's supposed to be a celebration in the evening, but during the day the skeletons just roll out of the closet, and secrets are revealed.Classic.That's how much I like it.
And Regina is in the middle of it all, as someone who has a relationship with them all, and who has grown up in that house as a kind of housewife.
It sounds like a real Ibsen classic.
And when you're like, yes, of course it's Ibsen.Ibsen is very concerned with the dark side of humanity, right?And has something to do with some taboos, sometimes saying something you shouldn't say at his time.Nora goes and says, go home, right?
A woman who goes to her husband and child.What is going on?What is the big tragedy in this?The thing is, that the father who is dead, In reality he wasn't as cool as his mother would like him to be.
He raped Regine's mother, and Regine is a result of the rape.Maybe one of the reasons why she was taken into the house.The crazy thing is that the son also chose to rape Regine in this episode.
And he is a repeat of the old man in the house, because he was spying in all the rudeness he served while he was alive. Yes, I would say there is something in it.
But what is also clear about this, is that so many absurd things happen in a very short time.It is in one and a half hour that all these skeletons are created.It is a rewriting of the text.
Still the same story, but there is a process that has been added and continued. But you've still stuck to the naturalistic side of Ibsen.What I think about Ibsen is that he's a naturalist to the bone.It has to be as close to reality as possible.
But it's also a reality that's only one time.So in many of Ibsen's works, there's a pastor, and there's a sailor's home, and we have to relate to that.Just like in Dukkheim, there's that fucking panda letter.What does that even mean?
There are some reality things for that time, which today is a bit like, but what?Impastor?
So you spend a lot of time, of course you know what it is, but you spend time calculating, like, well, this is what it is, because it's not right in my reality.Does that make sense?Yes, it makes sense. And that's what they've stuck to.
And that can be confusing in a new interpretation.
Also because scenographically it looks very modern and almost a bit futuristic.It's all a bit abstract.
Yes. I think Petrushka Miranara's scenography is one of the best in this performance.It's as if she has related to the text herself and put it into her scenography.I think it's pretty cool that it speaks for itself.
It's a papier-mâché scenography that is very easy to choose, and it does. We are in the distribution phase, and that's where she hears all these fine people, who are taller than her, talk and tell.Some of the scenes take place behind a door.
We hear a whole scene between the bridesmaid's house and the pastor, for example, but they play it behind a door that is locked. It's a lot of fun.It's a lot of fun.And we experience the scene through Regina, who's listening.She's just listening.
I think that's pretty effective.And it's beautifully done.It's almost inspired by art from that time, if you look closely.I think it's really well thought out, her scenography.And it's cool that she can choose.And it's almost like a dreamy Maritz.
It has a bit of an Alice in Wonderland-like vibe to it, with the snowy road.It's also very symbolic.
And in a way it has to be there to support the story, if you want to help the modern audience through the naturalistic parts of Ibsen's work.
When you have to explain the plot, it's like... There was a sailor's home, a father, a pastor and a child's home.
There are a lot of details in the story that, as I would say, block a bit because there's a lot of guff in this show, which is the family drama and the family secrets and the skeletons floating out of the ship.
And there can be a long way to go when everything else is included. And that's where I think it's a bit off as an idea, and maybe also gets a bit boring at times.
Because I think it's actually fun and a good feminist reading, but I also miss understanding Regine better as a character when she has to be the main character.Because I think Ila Halak, who plays her, plays her well.
Actually some of the best I've seen her.She has a lot of fine details in her play, and it's quite impressive to be able to get so much But I don't understand her character development.Because she gets raped.In a way. It's awful to watch a rape scene.
It's visually ineffective.It's a crazy scene.But what keeps her going is that her son, Oswald, has promised to take her to Paris.She dreams of going to Paris and practices her French.
She finds a way out of life as a housewife, or at least an experience. And when the play ends, she's extremely saddened by the fact that she's not going to Paris.I don't understand why she's so saddened by not going to Paris with her rapist.
So there are some holes in the character regime that aren't in the play, but that I actually think are a flaw when you choose to put her as the main character.Then I would understand her as a person.
So in that way, I'm a bit split, because I think they play extremely well.And it's a performance where Liv Helm, I think, has put the emotions first.Lasse Stene, completely wild, as Osvald.Fuck, he's about to make a statement.
In such a way that you become like, yes, I also love him.Because he can be so charming and just carved in granite, and you can understand that she... It's so funny, or Halak, Regina, when he's standing close to her, she has to smell him.
It's a pretty funny detail.She can't let him be.And then he's just so fucking clumsy.He's disgusting.And Malene Mielsen as that tall, long, curly, wild-like mother. who always tries to cover up and save his son from his father's wrath.
But he can't avoid being his father's son.It's really good.The acting works.You should see it for the character work, or for the acting.Yes, and for the scenography.And because it's cool to see an Ibsen classic with a new grip.
And an Ibsen you don't see that often.
I think it's cool to see a message about what I expect the story to be about.It's sold out, so there's not a lot of options, but those who want to see it... And actually buy the waiting list at Husudstater.
And you know what else you can do?You can just go to Odense and see it.
We will be in Copenhagen and Fisø.
It will be playing in Forever, almost the whole of November.But just as a side note, if you have time and are in a good mood, they run waiting lists at the Odense Theatre.So in case someone doesn't show up, they fill up the room.
You can see it at the Odense Theatre until 19 October, and then again at the Odense Theatre from 23 October to 23 November. I've noticed, Lina, that you've seen a lot of theatres where people get scanned a lot.
It's a kind of camcorder-like thing you're in.
Yes, it's a lot of what's premiering right now that needs to be seen.Are you crazy, man?
Scannery.Scannery theatres. Three hours I watched The Black Horses.You have seen Virginia Woolf's Wembang, another huge classic, which we saw a couple of years ago at the Royal Theatre.Yes, I played it in 2019.
In 2019 with Jens-John Spottak and Tammy Øst in the lead roles. And now you've seen another one, I almost want to say power couple, on Black Horse, Ibn Jaili, which we have totally, or at least I have totally fangirled over in the hospital.
And then Jakob Sedergren, who hasn't done theatre in many years, has done movies and TV, and now is back on the theatre scene.Was it good, Skanderi Theatre?Yes, it was really... Intense, Skanderi Theatre.Yes, very intense.
I have to admit, as someone who has a lot of prejudices, that when you listen to three hours of Sorte Hest, for those who don't know the theatre at Sorte Hest in Vesterbro in Copenhagen, it's a very small theatre.
It's a small room, not many people can sit there, so it's very intense.You're close to the whole country. And a little later, and I thought, okay, three hours in there.
You can only have a better idea of sitting three hours in the theater, where we also slept, right?They write, when you have a ticket to the show, they write, remember now.
It's getting hot.Drink water.They hand out fans and frozen laundry during the break.Then it gets hot.During the breaks.There are two.And that's it.Who is afraid of Virginia Woolf?
It's always three hours long, because there's an insane amount of work to do.You have to follow the only authorized translation madame Nielsen has made, which is good.You have to follow it to the point, you can't mess up anything.
So that's why all the episodes are this long.There's a lot of work to do with scenography, staging, PR on it.They write that in the program for this show.So they have to work on some...
So in a way, I think I know if it's going to be the same as in The Royal.You get to think about that quickly, because how could they do anything else?But they have to promise to do that.
So it just works really well that it's not bigger than the room.
I'm now thinking, but all the sets have to be made so small.I could imagine that the scanning becomes more intense and more uncomfortable.
Yes, because you can't avoid it.And that's what this is all about.Edward Albee wrote this play in 1963, I think.It's about Martha and George, who are invited to a party at 2 p.m.for guests.
Martha has invited Nick and Honey, the new young adoptees, to a party after a party at the university where they work. And George is like, what do you have?
And the thing with Martha and George is that they have a pretty crazy relationship, where they are always playing around with each other, who usually go out to drive each other crazy and drive each other beyond the line.
So it's always like a, what can you say, a vocal boxing ring. where they switch to beat each other up, and at least they want to.And that's what they expose Nick and Honey to, and also us as an audience.
Because just like Nick and Honey, we can't avoid it this evening, because we're in the living room as close as we can get.And it's effective, and it's electric, because they play as well as they do on Black Horse.
As you said, we've fan-gifted over to them, right?And you just have to say, she's holding the curtain completely, but she's ready. Shut up, she's an incredibly good dancer.You can imagine how Nippon Jaile would say something like that.
It's something about a foreigner who's got a cap and some very sharp words.And she is.But I also think she shows some nuances in her play that I haven't seen before, and that's cool to get to see up close.
Because every time she's overdone George, or has been flattered by him in some way, with those spitting words. she's always like a ballad child.She knows how to make ballads.With excitement and fear in her eyes, she's waiting for the reaction.
She's like, no, don't hit me, don't hit me!Jacob Sedergren's George is very low-key, almost subdued in the beginning, and then he slowly develops to become more and more And he is so arrogant in his way of acting.
I can totally see the two of them together.It's insanely clear.It's really an actor of the highest class. These two are insane, because you also become curious about the two people they portray.
You could easily think, well, then it's a scandal I have to deal with.But you become really curious about them as people, and they have the opportunity to put so many
So much micro-mimic in their way of playing, because they are so close to the audience.Where on the big stage it disappeared a bit.There they should play big, Tami Østrup and Jens-Johan Spottek, and did it really well.
But they just have some other options here, which I think they exploit insanely well.So they have such a good grasp of the psychological depth in these characters they make. I understood them very well as characters.
I understood their development very well.Louis Støvlebæk's actor, Nick, also makes a much more believable, complex version of Nick than I've ever seen.I suddenly understood him as a character.
He has back-slicked hair, an all too curled up beard, those shambala armbands and curly hair. Honey, played by Marie Røy, is a bright, passionate, exciting with pearls, light-red, like a granny dress.
You know them as a modern couple, it's not set in the 60s necessarily.And Louise Støvlbæk makes a nod to a huge, recognizable, ambitious, young, ambitious guy, who is also a huge threat to George.
I really like Marie Røyde, she plays mega cool, but Honey is just a more one-dimensional character.So when the other three have had so much to fill, then you sit and think, who is she?
Other than someone who drinks himself full of cognac and drowns himself in the toilet. Not as much as the other parties.That was a bit bad.I was really impressed by that.I was crazy about Tami Øst and Jens Jerns Bodsak.And I like the show.
I thought it was great. I think it has surpassed it, because it was so much more noticeable, the drama there, and I understood it much better.
I understood the characters better.You can see it until October 26th, in The Black Horse.And And Do It.
Sure, it continues.There are still a lot of shows in the next few weeks, so you can expect some packed episodes when we release it.It's always September and October, I think.
It's very good.It's really good.What are you looking forward to seeing before the 15th of October when we release it again?
Well, I'm finally going to Aarhus to see both Bloodbath God and Faith, Hope and Love, which you talked about last time we came out with an episode.
But then I'm also going to see it out there on the studio stage, which I'm really looking forward to seeing.I'm looking forward to hearing about it.It's something I can see.The three shows I'm really looking forward to experiencing.
I can understand that.What about you? Well, I'm staying in Copenhagen.I'm going to see Allerød and Trondfølge.I'm really looking forward to that.It's Alexander Meyer Larsen's sequel to Som Brødre, which I loved.
He writes really well, so I'm looking forward to that.But I also have a few days in October where I'm going to see Gilgamesh on black and white.I'm going to see A Case of the Royal, and I'm going to see the news on Nørrebro Theatre.
Time to look forward to that.
I'm going to see a dream play.I'm really looking forward to that. And you know what I forgot?I'm going to Berlin next week to see the third part of the trilogy.Do you remember the performances I told you about from stage?Marina Oteu's Kill Me.
I'm going to see the last part of the trilogy, which is called Kill Me.God!In Berlin, next week.That's so cool!
Shut up, Clara!No, we have a lot to talk about.There is a lot.And you can follow us on Instagram, as always, where we do small written reviews. and tell us what we see.And again, remember, when we write, have you seen it, what do you think?
Then it's not a rhetorical question, we actually really want to hear what you think, if you have seen it, so we can talk a little about visual art.So it's not just that?Yes, it is.Until next time.See you.Thank you so much for listening.
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