Clara, today, when we're recording this podcast, it's the 11th of November.Yes, the birthday of the bear.The episode will be released on Friday, the 15th of November.
But today, Fredericia Musical Theater has started a kind of countdown, so that on Wednesday, the 13th, they will reveal their new big production, which will be the show in 2025. I love that they count down from two.Yes, two days.
They have put up a picture where there is a big yellow two-toed in a spotlight in front of a blue stage carpet and with a bright red edge around it, which is probably a hint to what the performance is.
We can at least assume that.
You can assume that, because they say, I can guess what it is.And even if you, when you hear this, you know what it is, because you can just go in and watch it on Friday, then we think the guessing competition would be fun for you to hear.
Maybe we'll make a total mistake, maybe we're good.
I think it's best if we make a mistake.I hope we do.Not because it's bad what we think it is, but just because I hope for something surprising.
Something other than you.
Something other than my easy get.Try to come up with an easy get out of these colors.What kind of musical is it?I think they should do Hairspray the Musical.
That's my message, and I'm thinking... Nana Rossen, who's playing Wicked right now, she had her debut, at least on the professional musical scene.It's almost... And look at her now!...on date, 10 years since it was made public.
What if she's playing it again, and they can be like, look at her now, 10 years ago, she blah blah blah... She's 10 years older. She still sings very well.Maybe even better.Yes, she does.Okay, so my offer is... My immediate offer is... Hairspray.
A musical.I just... Love it.
You can't say Hairspray without trying out the song.No, no.I can do it.What about you?Well, I agree with you, because the colors promise you.A bit in that direction.But I want to throw something else on the line, just in case they totally surprise.
So you could also think it was something equally blonde.
Yes, because it's bright red and it's blue.
Yes, it's bright red and blue, and a little bit of yellow as well, because the movie poster is in those colors, and maybe that's what inspired it.But I feel... I don't think it's necessarily the Legally Blonde Foundation or the Legally Blonde Blue.
And the bright red should have been more prominent, I feel.Yes, it should have been, but it could be that they're wrong as well.I just want to throw it in, Legally Blonde, because it's also a musical.
I saw Legally Blonde outside in London a few years ago, with an all-black cast, which was really nice.
It could also be... It's supposed to be called Come From Away, but it's not.It's called Catch Me If You Can.
Yeah.That could also be it.
Because of the colors.Because of the colors.But they're blue and light red only. Yeah, it's a gold nugget, but it could also be a Frederic Thaler nugget.I'm just saying things now, because I also think it's Hairspray.
Yes, yes, but then I just tried to see what else could be gold and blue.And Spamalot.Brønby the Musical.Yes, Brønby the Musical.Spamalot the Musical.Yes, but they also played that one.Well, that was in July.Yes, yes.That's some time ago too.Yes.
They also played Hairspray.
It was also with Martin Brygman, as far as I remember, and it's probably still playing today. Let's say, let's put more money in the Hasbray basket.
Also because it's Frederik's quote, so there's something in me that's like... That would give good meaning.Yes, they actually want to play the musicals that are actually good musicals.It's a long intro, Clara.But now we have given our guess.Yes.
So I think we can see on Friday when it comes out, then we can just make a comment.
I would so like to see Spamalot.I actually hope now that it's Dead.You hope it's Spamalot?Well, now I would like to see a comeback.It would be good.There is one song I would like to hear.
That's not it.No, it's not!I want to hear Diva's song.
I love that one.That's where I want to read it.
Welcome to this episode of Den 4e Veg.
We're not going to talk about musicals in this episode.Gasp!I thought it was going to happen.I'm a bit scared.
But we're going to clear things up a bit, because it's been a month since we last broadcasted an episode, because there has been a disease at stake. So we'll sum up what we've seen.
It probably doesn't play anymore, but we think it's worth getting some words on the way.And then we'll also talk about the ballet, because there's a lot going on on that front.
And we'll talk about Monko Park's new ensemble, and about Ronny Røvegaard, who's going to play in Forever.So you have the opportunity to see if you want to do that.
But shouldn't we start with what we've been looking forward to the most in the last episode, like a month ago?
Yes, we are very excited to see Koyorama, especially Oliver Starpoff's work, which is called Have You Noticed I'm Grieving.Short recap, what is Koyorama?Koyorama is The Royal Theatre's talent development program.
where dancers from the ballet are allowed to choreograph a new piece that they perform.And then it's the dancers from the ballet who choreograph and dance it.Plus some guests.This year Peter Plauborg was one of the dancers.
And then there's a part of the concept that you get introduced to the works through a video, where the forces behind get to tell a little about how it is to shoot choreography, how it is to work with your colleagues in a new way.
In reality, it's a pretty good program to develop the dance, so it gets a little updated, as we talked about before, and a way to get to know the dancers that are in that ensemble or in that company better.
And then it's just really nice that there is a place where you actually try to recruit new choreographers.And actually put them on the big stage.
I can miss that when you, for example, do it in the acting house, but when you actually put new dance drama on the big stages and not just on small, experimenting stages.
It's also a program where you collect more of the short works, but it still has room on the old stage, and not just down on the A-stage, the tiny stage they have, where the corpus was held when they existed, which was also a way to try to develop a modern ballet.
But also because I've seen the choreography twice.It's both the traditional ballet, but also the modern ballet and modern dance.So it's not just because you get new choreographers to make a piece, that you lose the tradition.
In reality, it's just a continuation with something new in it.But the piece called The Pearl... Let's see if I can say his name correctly.Eliab. The Abadias The Abadias The Abadias The Abadias?
The Abadias The Abadias The Pearl, which was a very classic Bonneville-like, very strong adventure universe It was tradition I think you said it sounded a bit like Napoli Yes, Napoli, a folk song It's totally those classic types
A prince-like boy lands in the ocean.He is crowned.Yes, yes.He lands in the ocean and meets these magical ladies in some beautiful classic dresses, where there is a leather lady and then there are three body ladies who have a pearl.
And he has been sucked into a muslin, I don't know.
But suddenly he wants to steal the pearl from them and it really... No, he is not sucked into a muslin.They have found this pearl, it is in a muslin. Isn't she like... No, there is a huge muslin on stage.What?
They put it in and take it out all the time.What?Yes.Where?On stage.No.Does she come in with it?They come in on a platform.And there they have it.She has it?Yes, 100% not in a muslin.
No, it was meant as a symbolic gift under the cover of hate.It's some magical monsters that at least have a pearl. But I'm not a Muslim.I'm just thinking.Could it be that he has become... You know, it's a magical universe.Yes.
It's up to 12 years old, Clara.It's Danish.
It's Danish.You can't know exactly what's going on.
No, but anyway, it was super classic and a story that is quite easy to follow, also because there is a lot of mime language, and that is also classic in the Bourneville ballets.
There are some specific mime things that mean something specific and a lot of talking with big faces and such, right?And big arm movements and hand movements. And they do it here as well.It's nice, but it's also a bit snarky, I think.
The reason why I thought it was a bit far-fetched and felt a bit old-fashioned was because I had expected it not to be a part of this show.
I just automatically, because it was new people, new talents who were going to make works, I thought, well, it's not going to be anything old at all.
So I think I was just a little surprised that it was what I was going to see, but it makes perfect sense to develop that tradition as well.
There's also something about those classical pieces, and I've also written a tradition about that, it's so technically heavy.It's really technical, technical, technical.
And it's the whole thing, but in some of the modern pieces I sometimes feel that it's the art over the technique, and the personal expression over the technique.It's extremely technically heavy in the old pieces.
And what's also wrong with choreography is that it's not necessarily, what can I say, The company's best dancers aren't the solo dancers or the soloists.It's often the body dancers who get the space.In this case, it was some younger dancers.
I sat there several times and thought, you can feel it's younger dancers.They weren't strong enough to bear it, to be able to enjoy it.Because I also thought, oh, they can bear it.And I wasn't so drawn by their inner art.They weren't great artists.
No, and you're right that in the modern works there is more emotional play in a way.In addition to The Pearl, there were two other works, among them Oliver's Have You Noticed I'm Grieving, and then Carlene Talcott... Oh, it's so hard with names.
Yes, you have names today.Stenstra, who made the work called Am I Doing It Right?And both of these two works had... I thought of the same expression afterwards, in the way that they both dealt with a different emotional life.Both quite heavy.
One is about suicide, and the other is about sleep.You're looking at me strangely.No, I think it's simply because I hadn't caught that at all.Is that right?That it's about suicide?
But didn't you notice that in our program there was a number on the suicide line?
Yes, but I actually thought it was connected to Have You Noticed I'm Grieving.
Okay, exciting.Maybe I... You might be right, but tell me, why did you interpret that?Now I'm in doubt.But I felt, I sat all the time and felt a huge sorrow.That's the work Peter Plaggborg was a part of.
A lot of people arrive on stage in party clothes.Peter Plaggborg tells in English something about how you arrive at a party, I think, or something.They're all dressed in party clothes.The clothes are a little off and on.
Now while I'm talking about it, I can see that it might just be about a party and how you are at a party.I felt like it was about such social rules of the game.Yes, okay.
I had a feeling of deep sleep in Peter Plaggborg's role, because he stood several times on the edge of the stage and looked down. Yes?I thought so, because he wanted to jump.
Maybe you're right, I haven't seen it.No, how exciting.Well, because for me it was totally about being sociable, also with the text he had.Not that I can remember the word order, he had a lot of text.So I haven't seen it, because I think...
In the show, there was a seat with the number of the suicide line, but I banned it 100% to Oliver Starpoff, because it's about such a deep sleep, that if you're not deep down in depression, then depression is tight.
That's funny, I totally agree with you on that.
I was actually thinking, why is this here?And I can tell you, it just came to my mind.I think I just interpreted that the reason why they chose an actor like Peter Plaggborg, who also has a very big...
It's hard to say, but it's about the ballet dancers.And he's a bit like... He doesn't fit in among the others.And using him as a main character makes it clear that he's trying to follow the others.
So I interpreted it as a story about trying to fit in. and do the right thing.
That makes perfect sense.And I think that's what made it for me.At first I thought it was just about being there, or how you are in general in the world.
But because he stood... I remember it as if he stood on the edge of the stage at one point and was like... By getting overbalanced, right?Then it's like, okay, that's what it's about.
But anyway, no matter where it is, it's beautiful in Danish, you can interpret it however you want, so if it's about Selma for you, lovely.But let's talk about... Wrong to say lovely there, but you understand what I mean.It's up to you to interpret.
I would like to talk about Oliver Starbucks as the last one, because I would actually like to hear what you think about Am I Doing It Right, because when it ends and there is a break after it, Then I said, exciting, cool, and you were like, no.
No, you said, I could like that.And then I said, no.Not in that way.I couldn't.I didn't like it that much.I think I just said, that was pretty cool.Okay.Yes.I didn't like it that much.No.I didn't particularly like it.I sensed that.
I think it ended up being a mess.Yes. I think it was very frustrating for my full experience, because I was ready for it to end, and then it started again.And it probably makes sense to me now, because I think now that you've told us about it,
It is what it's about.It's about social welfare and stuff like that.But I was so confused about it.I was constantly trying to find my way around it.And because it ended all the time, I got really frustrated.I thought it was too heavy for me.
I was constantly waiting for a conclusion.And I never really thought it came. And it was also the only work that didn't have an introduction, apropos.
The other two have, as we said earlier, an introduction of those who have done it, both the dancers and the creative people behind it, who tell why they do it and what their intention has been and how it has been to do it.
They used a film introduction as part of the work.Yes, it became a media phase-like introduction to get Peter Plaggborg on stage.You saw the dancers get ready to go on stage.
Yes, and then we meet Peter Plaggborg in front of the Royal Theatre, and he runs into the old stage.Then he arrives a bit too early on stage, physically, compared to where he is.So it was a bit of a double there.
But more than anything else, I can feel that I needed that introduction even more.And I think that was a bit disturbing to watch.We also talked about that afterwards.Who were the people involved in making this?And what are her thoughts behind it?
Because I think it worked really well with Oliver's followers to understand what was at stake.What do you think about that?
As I said before, I thought it was very cool, but also because it stood in contrast to The Pearl, which was very classic.I don't think I would have needed more of that, because I don't think they're good at keeping up with the tradition.
Just this format I wanted to see something else, because you don't do so much modern stuff either.So I was like, phew, what is this place, what is this?So you were looking forward to something that was so new, and wanted something else.
I thought it was cool. I missed the introduction, of course, but I like the idea of letting the video play together with the scene.If it had been timed perfectly, it would have worked better.I think the work was pretty funny.
I think the Peter Blauborg effect, the effect of him being there as an actor and as a big person among these dancers was super cool visually.There were some exciting dancers in the play.Choreographically, I don't think it was like...
Out of this world.I think if you wanted to enhance the effect of... How can I put it?The story of fitting into a community, I could have imagined more of a gathering.They had these chair choreographies, where he tried to do it like them.
Which was cool.But I could have imagined more of a gathered organism.You know, I think that... It happens too rarely in dance, that there is... Completely tight choreographed, one-of-a-kind dance.
And right here I could have imagined that it stood as a contrast to the many solo pieces that were there.And the many, like, you just do your thing on the chair, you all do it differently.And there was a lot with some chairs here too.
Yes, but I totally agree with you that as a collected work it was too long and had its shortcomings and there's a lot to say about that, but that's not what I'm taking with me from that evening, other than a fun experiment, I would like to see you work on that a bit more and then see it in a finished edition where you've been working on some dramaturgy in the story as well, right?
Yes.Because the work I'm taking with me from that evening, and which I'm actually Super blessed you are today, and I've been thinking a lot about it since.It's Oliver Starbuck's Have You Noticed I'm Creeping In.It really hit me.
What do you think about it?You can start with that.
Well, I'm very much in agreement that it was clearly my highlight of the evening.I think there was a lot of nerve in it.I think... Oliver explains in the beginning that it's about sleep, and it's about going through all the steps of a sleep.
To be completely down, lie down, get up, and then lie down again.It was wildly moving.I thought it was so nice, and it didn't feel real at all.There was nothing that felt like being taken on.It felt like something everyone understood.
It's a deep, universal... It's all my intro.It was very beautiful.
They used the scene beautifully.The bodies disappeared in the dark.I think it's great to be able to notice a choreographer
to be so much present in the work.Physically, in the way that he starts in the middle of the stage, down by the audience, in front of the first row, and stands there, and starts the work himself.
So you understand that this is a deep personal story, to go up and lay down on the stage, while the others dance around him.
Both as such a world takes place, even though you are serving, and it is an insane contrast that exists in you as a human being.
But you could also interpret it as the sleep happening in very different ways And everyone trying to get rid of their sleep in some way through these different, insanely strong choreographed sequences It was something that made a huge impression on me and could very well be a gimmick that I also saw they had tried to sell it on in Good Morning Denmark or something
Andreas Kås was supposed to dance in Tosbjørn Skogs, who is a female ballet dancer by the way.But I got into Tosbjørn Skogs at a time that just moved me in a crazy way.I was like, why does it move me so much?
It's one, because Andreas Kås is an insanely talented dancer, and as you say, there was so much personality at play in this work, and it just shone out of him.
But there was this thing about describing sleep as being like having to dance in a toilet bowl when you're not used to it, which just gave such a meaningful picture for me.And what he was dancing, it just went straight to my heart.
It really touched me, that sequence with him. I thought it was so well thought of to use the world they're in to express something about the universal and that they have to say something.I was really touched by this work.
I thought it was insanely good.I think he's such a strong choreographer.When do you give him a whole evening ticket?I know they did it with that insane... Under the deep.Yes, the Sanskrit work under the deep, where he had choreographed a lot.
I mean, I want to see him do something.
I'd like to see him make a complete work, that's just his, that doesn't have to have everything too high.Because that was also what I thought worked really well with this, that it was so naive.It was just people on a stage.
I don't want to see him telling a classic story that he has to interpret.I want to hear every story in Oliver, because I'm really interested in him as a person now.
It's crazy to say that a great sorrow makes an artist, because I don't agree with that.But there is some life in him and some life experience, which I would like to see him interpret in Danish.
The fact that he has taken a subject like sorrow, I just think is extremely important and it was well solved.But I want him to be allowed to tell a story that lives in him.
Whether it's from his personal misery or something he wants to tell, that's what I'm happy about.
I'm not at all in doubt that there will be an Oliver Starr play in the next few seasons.
You can hope so, because now there's a new ballet director, and let's not talk about that for too long. For a long time, a new ballet director was appointed.
And it was, if you've followed along, not a surprise, but the constituted director, Amy Watson, who now takes over the role as ballet director.
Yeah, it wasn't that surprising.Not at all.
And I just have to say, Clara, when I first saw it, I thought, holy shit, that's boring.And no offense to Amy, that's very important for me to say, but because I think that I had raised my nose a bit afterwards, and there's more explanation coming.
Hold on.I had hoped that you would go with a huge artist, who had a completely clear artistic vision and wanted to lift the company up artistically back to a place where it has a place in the world.I wanted to come in and dare, in a way.
To be able to say what the company should be now, artistically. Then there is also a reality where it is a company that has huge problems.
There is both something with a ballet school, there is a lot of chaos around that needs to be solved, there is anxiety on the inside. And in that sense, I can understand if you want to choose a boss who has to create peace on the edges.
And just create a space where you can actually work with art.Because that is perhaps also difficult if everything is chaos in advance.Then you can't just put a crazy artist into it.
I think it would have been... I understand your wish.I had the same wish, but I think it's completely right not to go with the big and dry. Right now.
Yeah, but I was just hoping Pula wouldn't be able to.
Yeah, yeah, I understand.Monique loves to do KPH dances, and that's a huge success.
Yeah, yeah, but I think he would have been a genius.Again, it's not to tell the truth, it's just to say that I had hoped for him, because for me he's a clear artist.I can somehow see through what it is he stands for, what he can do.
He clearly has some contacts that would be so crazy for the company to be able to... I mean, he's the one from Peeping Tom to Copenhagen, right?I'm very agree with you.
I just think it would have been... Stop shooting yourself in the foot, and go with the 8, and turn.I understand what you mean.I think what they need is calm.I had totally hoped that everything would happen.
You could say that Amy is a bit of an extension, as I understand, of Hype.They've been working together for many years, and that's why she took over after him in a shorter period.So I'm really excited about what's going to happen with that place.
Is there going to be anything new?Or is it just going to be... In the next two years, it's going to be hippie repertoire.
She has two years to figure out what she wants to do as an artistic leader, as a ballet director and as a curator.When I read interviews with her, she says things she wants to do, but I'm also like, but what do you want?
But I agree with you.I also miss an idea of what it should be.What would you like to do with this place?Other than carrying on some crazy tradition, right?
Yes, and what I'm afraid of is that the royal family will stagnate. And that the good dancers from the company are going to leave, because there is also something happening, where they have a place elsewhere, on other stages.
The Royal Theatre, the old stage, doesn't have a monopole anymore.It's at the top, that's for sure.But it has been what you expected it to be when it came to ballet. There are now other platforms for the big dancers.
So I could be afraid that there will be a... Who is left?Because they'll go somewhere else if they're not challenged artistically.With their short career, do they dare to hang around and play for a few years?
And then bet that there will be wind in the sails in two or four years?
I would like to hope, and this is what you do in many other places, when a new boss arrives, that you have some spots during the next seasons that are set to do something uncertain.
So that in the next two seasons that are already set, there are enough spots for Amy to choose from. Here we have to do something completely crazy different.So I hope that's something they also do.
I know you do that on a lot of theatres when you get a new lead.Because otherwise you can very quickly, as a new lead, get tired of other people's material.Yes, because it's not just one season, it's two years in the future.
Exactly, and you quickly get tired of other people's material and have to be in charge of it.So I hope that's also a way in which we can see a bit of what it is she's going to do.
Or she's better off hiring guest stars to lift the works that need to be done.But then we dare to be a company that brings in guest stars and dances.So the Danish ballet audience...
Also to see who are the big names in the world right now, just like you're good at doing at the opera, where you also bring in guest stars.And you can, for example, bring some of them home who are out dancing in the world right now.
So maybe you also thought it was nice to come home and dance in Copenhagen again, right? So I was actually shocked.Now I'm more like, okay, maybe it's not good for the whole thing.
Yes, and there is some light in that it is something new.In general, it is a new person who should be there, I think.I see a lot of light in that ballet.Do you know what I hope?No.
I also hope that the fact that it is a woman makes her also dare to look a little at the role of women in ballet.Something I know Astrid Elbu, for example, focused a lot on what was recorded.
I could imagine that they actually took that talk in the ballet, a serious talk about how to preserve the ballet's place for the future audience and develop the genre so that it doesn't just stick to being Bonneville works.
Bonneville tradition must also be preserved.Excited to see how she will solve that task, because there has also been a lot of criticism from Hyypø on that front, in relation to how he has handled that task.
So it's exciting, but I hope she does it at the same time as she has a desire to talk about what to do with the ballet in the future, because that has also been a theme for the Royal Ballet in relation to the Neumeyer works in particular.
What do we do with this, and how should the dancers find their place in it? But in conclusion, even if there has been disappointment in this conversation, I just want to say that we are looking forward to seeing what happens.
Congratulations with the post.
As we've already said, it's been a long time since we last talked.I haven't seen a lot.I was too busy going to the theater and then I got sick.But you've seen a lot.I've seen a lot before I got sick.
And I was, among other things, watching the dream game, which we talked about in the last episode, and you were supposed to watch it relatively shortly afterwards.And I'm really looking forward to hearing what you think about it.
You wrote to me that evening, and the first thing I hear from you is that you write, oh my god, the ending on the first act. Yes, I cried when I wrote it.The ending on the first act.
The show doesn't play anymore when this one comes out, so I feel good we can spoil.The ending on the first act is, as I also briefly mentioned, this point where all the artists go up in a higher unit.
There is both music, dance, acting, it all happens at once.That was also my clear highlight of the evening.
Physically speaking, Sebastian Klobauer and Maria Koschetkova, the two ballet dancers in the performance, have a very long choreography.
They dance over, and together with Mikkel Lund, who is in the wheelchair and has muscle pain, so it becomes a very beautiful and violent picture of their superhuman physicality, which the ballet dancer has, over his non-existent
I understand his physicality, but he's not physically capable.He's bound by the wheelchair, of course he can get out of it.But on stage, he's in it and is quite dependent on it to be able to walk around and have a physical language.
I just think it was enormously beautiful and enormously moving to see them perform.It's not a shame for him to be in a wheelchair. No, no, there was a lot at stake.
While they're dancing, Asta August's character is also standing in the middle of a cliff and is totally lost in that dreamland she's trapped in.And Marie Killebæk sings, as we talked about last time, completely magically.
It's just a beautiful moment about physicality, I think, that totally hit me.So I was really, really happy for a dream play, especially because I think it was aesthetically beautiful, I think Lav & Løve's screenplay was out of this world beautiful.
When they come into the boats up in the air.Wow. Everything is beautiful in that performance.
I think she has created such a crazy, heavy universe, but so much meaning, because it is talked about, that everything is heavy, because the heavy force pulls us down, so it's hard for someone to be dreaming and floating in it, so even if it's a dream, it's so heavy a dream.
It's almost magical. Yes, it's a shame for the people who are bound to this earth.
Some long-term analysis, but just to say, I think it was such a clever piece, I think it was such a beautiful classical narrative, and I really think it was beautiful, and so sharp and so thorough a work.I was very, very impressed, Clara.
It's still in me, I know you said it didn't set a course, that's what it did to me.And I thought it was good.Totally crazy. Good.So I was happy.It was nice.
It was the first thing I saw when I got out of the bubble of illness, and that could also be why I was so strange, because I had just started to feel myself grow up again after coughing half my life for a month.
You also have something to say, pow, pow, pow.Kristina Hagen on Theater Republic, who I am very sorry about, I have heard all my friends have talked about her. I simply didn't make it.No, and that's a shame.No, is it?I think it was good.
I hoped you would be like, nah, it's okay.The reason it's a shame is because it was such a strong monologue performance.
There are some things in the performance that could have been tightened or done differently, but what was really good in this was the monologue performance of Ide Cecilie Rasmussen, who has made Christina Haen's lyrics before, and you can feel that she is super comfortable in the lyrics.
It's hard to make a collection of lyrics for a monologue.I think after all, it's almost only her who makes them.But it's also good, she's really good at it.
And what I think, one, she lifted the mullaby, you really believed that she was the people she portrayed, There was just something completely insane, I mean the animal's sleepiness in it, so when she said pow pow, it became like...
You know, it was completely insane, but also super punchy, when you were like... Is it attack or self-defense?Is it both?Do you hit in the face?Do you actually hit out in a real... I mean, you know... She got so much in those words.
So it was really a monologue performance, where I just thought... That's the craziest thing I've seen an actor do alone on a stage in a long time.It's so good.I'm also very impressed by Emil Rostrup.And a solo performance. I'm thinking right now.
I think it was really strong.
How annoying, I haven't seen it yet.
Should I tell more about how good it was or not?
I can feel that I'm just sitting there thinking, I'm pregnant, when, how could you?
I think it was strong.So it was also a really strong monologue.And Clare, one last thing I want to mention.
Since the last time, the reason why I haven't had the time to watch as much theatre is because I've been to the UP Festival, which is a comedy festival in Copenhagen.
who have the ambition to become Denmark's Edinburgh Fringe Festival, where you can see a lot of comedians have festival editions of their one-man shows, and the rule to get a spot at the festival is that you have to be able to do an hour.
Oh, that's a lot.Yes, they do everything in an hour.Okay.
And I, full disclaimer, I sat in an auditorium and looked around to see things, because the festival ends with an award ceremony, where an award is handed out to the show the auditor thinks was the best.
I just wanted to mention that, because we've been talking about stand-up for a while now.We've done one-man-shows before.And I just wanted to do it again.
Because I could feel that when I saw these shows, I thought... God, it was so weird... I can't really see what's going on, but it was so weird... To get a feel for what's going on in that environment again, and also see that there is a development.
And now it's festival auditions, so it's not the big stage art, they usually come with big scenographies and all that.But you get the feeling that something is happening with one-man-shows.
There's also the fact that these shows move more and more into the theater's premises.I know that Anders Mattesen has almost always made theatrical stand-up shows, but they are found on almost all theater stages.
Rone Klagen will soon make his show on Avenue T. which I think is an interesting development.
I don't think you necessarily need to do the big stage show or put it over in the theater, because I also think it's cool to hold on to a person with a microphone.
But it just raises the level if you have an instructor, not necessarily a theater instructor,
But you can tell when they've thought about the dramaturgy in the show, and they've been nerdy with the storytelling in the show, that there's actually a thought behind what you're saying that hour, other than, now I have to make a new show, and I haven't had a child yet, so you put it on the top.
But there was an insane amount of material about someone who was fed up, right? I say cool because it's primarily men, there were four women at this year's festival.And it doesn't fit, they don't exist.
It's not an excuse, but even though there were four women, I missed seeing more of the female comedians, because they are out there.And I would also like to see them do a full hour.There are two comedians I want to highlight.
I don't know if one of them is actually going to do a show, but I hope so. Let's start with someone I know is going to do an hour of the show at the festival.His name is Simon Wever.He does a show called Wever på en lyserød sky.
I think he's on tour right now.I think it was a crazy short show. He's super funny, and it's a bit like saying that they can't remember the lines.That's the point, they have to be funny.
And it's always a matter of taste, of course, if you think someone is funny.But technically, I just think he's super sharp.It's a show about suicide and deep depression.But where you sit and laugh at it. Yes, yes.Solvable.Extremely solvable.
And he's good at it, I think, in an insanely fine way.I really think it was good and an important show, so I can recommend it to anyone interested.
And I think you should keep an eye on her and Klaas Schøn, who did an hour down at La Fontaine, a jazz club.Nice. And she had also thought, okay, today at a jazz club, so let me bring a jazz band on stage.She has a jazz trio with her.
She is such a comedian who writes and sings.Laughs a song with her guitar.And then she got a jazz trio to put music to a song.And it was just a really cool show.
So the show itself was the songs, or was it the song?
Then she says something in between, and then it becomes a song.Was it a hit?Yes, then it becomes a song.And the jazz band was on stage in the meantime.It just worked really well.And it was cool with someone doing something else.
Yes, yes, white girl with a guitar, not a new gimmick. Some people say, we've seen Annie Coke before, so you can't do that.Look at the men, they all do the same thing, and it's annoying.There has to be one girl with a guitar.
And I think she's fun in herself.Crazy cool.Brand new, so there's a lot of potential for development in it.But I really hope she'll make a team with the jazz trio that's going on tour.
Tell me about this festival.Is it coming back every year?I think that's the plan.It's two years old right now.
And I think the plan is that it will come back next year.They have at least received support.So I think you can expect it to come back.
It's a week where there's simply... And I have to say that CBH Stage should give me permission to go to the UP Festival.Because when we talk about festivals that are about their art, and let's just get into it. They solved it so well.
At a stage art festival there are more requirements.But Comedy Zoo, a club in Copenhagen, the most central club, is the festival center. They have a fairly large bar area, and there are also shows at Comedy Zoo, but people come and hang out.
So the program is that there are shows at the same time every day, so it's called 13.30, 15.00, 18.00, 20.00, 15.00, 22.30. And then all the venues are within a radius of 500 meters around Comedy Zoo.
So they have a lot of venues in the game, but you can stay at Comedy Zoo, and people go down there between shows, hang out, and then you can go on to a new show.So there was such a... Now I sound old when I say it, but a life...
So you had the feeling that you were at a festival.Hey, do you want to see Mads Holm playing here?
That's what they try to do every year at Stage.They have a festival center every year.They don't have a bar to hold it at, you could say.There's definitely something about it being...
at a bar, and there's a different tradition for a bar and a stand-up show.But I totally understand... I know that's what StageU wants, they want to have the festival center, that's where you go.
Very often it's just a branch area, where you can go and pick up something, and just meet a colleague.It could be really nice if they used the festival center to do all sorts of things, but I know that's what they want, right?
Events are always festival centers.
But that's what I mean by the way a festival should be set up.I know it's an ambition, but you should do more to create life.Shouldn't there be a bar in the evening, where people come and hang out after watching a show?
Or you know, that you somehow invite people.Because it's not just the guests who come to the Comedy Zoo.The comedians also come and hang out.And it makes a lot of sense that you can also meet the people you've just seen on stage.
I don't know if they're that willing, you can still talk to them, but they're sitting there hanging out.
So there is a different feeling of, it's a cool place to come and hang out, and you want to see more show shows of it, because you just hang out and then someone says, hey, do you know Pelle Lundberg, do you want to come down and see him, he is very cool, and there is one that has not been sold.
I think it worked really well.And that brings me to the last person who actually won the award.It was Mads Holm, the comedian, who has had a career of 13 years.But right now he's stronger than I've ever seen him before.I've followed his career.
He's doing a show where he's considered a stop as a comedian.But he was actually one of the only ones who made society relevant.They came out, said something about politics. I've written so much about it, it's called Shitministeriet.
It's an insanely good show he does.The show he's going on tour with now, he just finished a tour, you have to go and see it.Holy shit, it was fun.And it was so sharp.And I didn't look at the screen for an instant.And what show is it called?
The show is called, How did we end up here?And it's going on tour in 2025.Okay, so you have to keep an eye on Waver on a cloud and How did we end up here?And then Klara Sjøen, who's a comedian.Not sure if she'll come with a whole show, but I hope so.
Challenge, do it, they are so ready.Nice, and keep an eye out for the festival next year.
Exactly.There is a bit of a gap between when we record children's and youth performances.
We don't do that much more after we have gone so far as to make podcasts on sound and on our Zoomie channels, but you have still been a part of Ronja Røverdatter.
I watch a lot of children's shows, so if you want to be a typical child... Then you have to write to Line Kirsten.I'm not talking about this.I've seen Ronja Røgaard.A classic and a highlight, so to speak.
Yes, and it's one where I think, it could also just be an album performance.A little bit of a broken lion's heart on the royal.
Yes, but also, I think, without a quote and made a version a few years ago, so I'm not sure if it was actually a family performance or...
I'm thinking about Ronja Røvard, that could also be a grown-up performance, because it's Astrid Lindgren and... Yes, for the sake of nostalgia.Yes, and there are some big themes in it, and there are a lot of brutes and blah, blah, blah.
But it doesn't have to be Sebastian Myhueskald that you're doing.
No.I actually don't really know Sebastian Myhueskald.Ronja Røvard... Well, yes, yes, I know the song.Okay.What?Ulve's song, Annemone's song, don't you know it?Annemone's song, the one you sing together?Okay, it's from there.That's it, yes.
I don't know any of Sebastian's songs.I thought Anemone was just a high school song.Do you know Ulven?No.I only know the original.What about Din Skov, Min Skov?I don't know what that is.
I have nothing to do with it.
No, super duper!Sorry, we don't want to talk about them.It's Astrid Lindgren's story about Ronja Røverdatter, Røverkongens Datter, who is born in a nightmare.She can't see herself going down the same path as her father, who she grows up with.
She can't get along with the Røverlife.She gets along with the forest, loves the forest.She meets the rebellious Røverkong, Bård Kast's daughter Birk, out there. What did I say?Daughters.Søn, of course.Søn and Birk.
They are a bit unfriendly at first, but then they become very good friends.Classic.And what's going to happen?You have to watch the movie to find out.Meet Cute.Yes, Meet Cute.And their boyfriends and siblings, no one knows, it's a bit clunky.
But in 1991 they make Sebastian.Yes, that Sebastian.A musical.That's the one they're putting up at Folketeateret now.It's Mads M. Nielsen who has instructed it.It's Mona Keyes-Andersen who plays Ronny Rødhæller.
I love the movie.Is it one-to-one and with new music?
Yeah, more or less.If you buy a ticket to Folketeateret and think, now we're going to see good old Ronny Roberts, you won't be disappointed, because it feels like watching children's shows from the time I was little, in the 90s.
And with that in mind, it's both super safe, and it also seems a bit dated.What's called grey dwarves in the movie, and in Astrid Lindgren's books, is not called grey dwarves in this version.
It's called grulls, because it's politically incorrect to say that dwarves come from grulls.But it's not more 2024 than all the dwarves are still men.And the one woman who plays the dwarf has had a heart attack and a stomach upset. What?
Is there a woman playing a man?Is that it?Yes, yes.
And the whole thing is full of drama.The scenography that Nadia Nabil-Korsbæk has made is also quite school comedy-like, because it's very gritty.You've made that Matisse-boy, as it's called, where Ronja lives.
It looks like papier-mâché, a kind of tower.And then there's some kind of plade, wax, moss, in some kind of grey-green, glittered over its curve.But there's not a lot of forest to fall in love with.
And considering how much of this happens in the forest, and that Ronja has that insane forest, it was very magical, I think.Yes, you want to build a paradise in some way. But it was very popular.Do you understand what I mean?I understand.
I can 100% see for myself what it looks like.And a little uncreative.The creativity has made it so that you have ... the crawling is just some gray furry creatures on a remote-controlled wheel.And the same with those ... Why is that?Why is that?
The forest gnomes, or what are they?The gnomes.They say why all the time.They're just little remote-controlled creatures.They're not supposed to be here.On the other hand, three of the actors come running in in these big musk suits.
And the dancers also have to help with some of the scenography out and in, and they have these ugly glasses on.And you never really get an explanation for what they are, other than the voices, as to why they're the types.
And then they dance a little and do some crap.But you know. I think the show seemed a bit dated.
But isn't it a bit like Folketeateret's children's and youth shows?
I think we've seen a lot of them, and I think we always come back with a feeling of... Yeah, it's a classic, but it's not enough to just make Ronja Røverdatter, like you did 10 years ago.
Skatteøen, which they do all the time, but almost the same performance every time.And the same feeling here.Exactly.It's the same as when I saw it.They've got a new boss.I think they still have to do some of those youth things.
I think it's part of what the people want to do, to do tour performances. So I hope that the new director will make some family-like shows, that will be more than just, like, we've got this one, let's just do it again.Yes, yes, exactly.
At least try to do something, because it's not like the actors are making mistakes or anything.I mean, Moni Kees and Andersen, who play Ronny Røverdatter, is insanely cool, a cool robot.
The same with the guy who plays Birk, who is a debutant, and his name is Sigurd Tomasen.They both play excellent, sing extremely well.They all do.There are some very moving songs, and at the moment Sebastian's music is totally alive.
It's super strange that the band consists of three people and they are on stage, it's completely strange. And walk around and interact a little bit, and then we sit at a drum set on stage, that's super cool.
And I think Mads Simmendielsen's instruction is a little sloppy, they jabber a little bit through the part of the story, to the advantage of being a lot of the troublemaker, and running a lot of brute force humor, right?I would hate that.
Yes, funny moments and children laughing, but they don't laugh a third time either.No, no, no.So I think you miss a chance to actually lift a fantastic work, which I think Ronja Røverdatter is.I missed creativity and play in it, that's for sure.
How long does Ronja Røverdatter play?Well, at Folketeateret it plays until December and then it's on tour all over the country until March.
Oh, it plays forever, you said?
Until March, yes.And you don't even have to travel to Copenhagen to see it, it comes to you.
Sure, I think we can finish with one of the other big news from the last week actually.Because at Mungo Park in Allerød, which is one of the only theaters in the area that has an ensemble, except for Aarhus Beværs, they have hired four new actors.
There was a huge open application round.And they had over 300 applicants or something?
And I have to say, a huge rush to the theatre to actually do it that way and make an open application.Now I don't know what that process has been.There may be some actors who say it was under all the criticism, I don't know.
But from the outside, I just think it's cool that there is actually a theatre that says, we make an open application and we make a casting process where you can also come up and show yourself as you can, even if you are an experienced actor.
And we would like to apply, because we have to hire four actors.Now it has been made public who the four actors are. Are you surprised?Yes!
Are you?I mean, yes!Are you not?Half and half.Okay, I'm not over the whole thing, and I think it makes a lot of sense, also for their DNA, or what kind of theatre they should be.
And I'd like to see a theatre that has a wide range of genres, and has a lot of representation in their ensemble. Maybe we should say who it is.It's Marie-Louise Ville, Ernesto Carbone, Kristoffer Læssøe and Signe Thielsen.
I think it's really nice that there are, at least for me, four different Actors.I could hardly imagine anything more different from each other.I haven't seen Marie-Louise Ville on stage in many years.
I know she's done something, but it's been a long time since I've seen her in anything.But she's filled a lot, right when we started doing the four-wall.We interviewed her in one of the first seasons we did.
I've seen her at Aarhus Theatre several times, among other things.And at the Bettinandsen Theatre. So I'm actually looking forward to seeing her in something again.I think she's a really cool actress.I also think that.Very intense.
But that's also what I'm looking forward to the most.To see her up there.She's really cool.She's a great choice, I think.
And I also think it's cool with Signe Thielsen, who has just graduated from the theatre school this summer.
She was the one who surprised me the least.Yeah, me too!I didn't know if she had been sued or not.I don't know who was involved in that.
But she was on the cover and it coincided with Mungo Park suing Nyhøe, so it's too weird for me if they don't take her. I totally agree with her and Kristoffer Læssøe for me.
But there is also something in the whole idea of diversity that Munko Park has been extremely good at and that I am really happy that they continue with.I just hope not, I have to say.I could sit and think, is Siden Tielsen there in a year?
I do not know how long they will be in contact.
Because you're afraid that she's too hot a name to be you?
Yes, she's very well-educated.I think she's talented.I saw her debut show, and it's also limited to judging her, because I could just imagine that she's someone who's talked about a lot, both in movies and in theatre.
But it's still nice that they have them.
Do you have one now?Totally, but you know, when you're a new student, I also think you're happy that there's a permanent job.I don't know if that's something that was going on.That's more what I'm thinking.
I can think, I don't know if there's a place for a year again.
But I don't think that's problematic, actually.
I'm not problematizing, I'm just speculating. It's not a problem at all, it's just exciting to see if she's going to be there in a year.I think it's going to take off for her.And if not, then good for us.
I mean, good for us anyway, because then we can see her in many places.But regardless, we're going to be able to see her up there.I think Clara, the coolest choice in this group, right?
I've picked them all up, so it's not like I'm going to pick anyone.But I think Ernesto Capone is so cool.
I think he's really funny.
I think he's a genius player.And I was so happy when I saw him play here.Because he's often like, why don't I see you anymore?You're so cool every time I see you.You gave him everything.
And now he's going to play in an ensemble where I can see him all the time.
I think that's so cool.You shouldn't do anything else but go to Mungo Park.
I think he's so cool and I'm so happy because I've seen it too.I think it's cool that he's going up there.
They are supposed to be in an ensemble with the three others who are still in the ensemble, which are Henrik Brib, Nana Morgs and Sebastian Ågård-Williams.
But it also says here, which amazes me, because how many episodes are there?They end up in our strong ensemble, which also consists of the three you mention there, and then also Rikke Vestig and Alexander Meier-Larsen.
But we know Alexander is going to be the leader of Blågård in a little while, so he stops in the ensemble now. And Rikke Vestig doesn't perform in the press conference.So we have to assume that she doesn't perform either.Yes.
Even though she's on Instagram.That's very strange.
Mystic Mungo Park.But in the press conference, the ensemble is as it is now.Henrik Pripp, Nana Morgs, Sebastian Åker Williams and the four new ones.
It could be that they think it's because the season is not over yet, and they join the ensemble called BOMOMOMOMOMO.
Yes, because Alexander and I and Larsen will first stop at the change of year.I don't know.It's exciting, but at least I think it's exciting with the new forces.I'm looking forward to seeing them play.I do too.
What are you looking forward to seeing next time, Clara?Well, Line, I'm going to New York.No, stop.Did I know that?
I don't know if you didn't know, but I'm going to New York.And when?Well, on Sunday.What?Yes.What?No, you didn't know.You didn't say that?No, but I have to.And we'll tell each other everything.Well, we haven't seen each other in a month.No.
I'm going to New York, and I've ordered tickets for only one show right now.I plan to see something every day.
Speaking of Hairspray, there's actually a show on Broadway right now called Mama, I'm a Big Girl Now, which, speaking of, is with former... those who had the original roles when Hairspray premiered on Broadway. I really want to see that.
With the three female lead roles.But the one I have ordered a ticket for, is a show called The Civilian's Sex Variants of 1941.And I have just been recommended by this group to know that if they do something, you should always just watch it.
The short description on when to buy tickets is just... I'm going to see that, and I'm really looking forward to seeing that.And then we'll see what else I'll get.See you in New York.
I'm jealous.So what are you looking forward to?Nothing, I can feel it.I'm going to see a lot, so it's hard for me to choose.I'm sitting with my calendar like, fuck, which one should I take? Can I say two?Yes.
I'm looking forward to seeing the show that premiered that day, but I have to see it on November 25th at Blågård.And you know that because you're a Meta producer, and that's not why I'm saying it.I'm looking forward to it.
But I'm really looking forward to seeing Loma Alde & Glemme, which is Act 1's newest show.Instructor Nils Ehrling, PR manager. And they can seem a little weird when we're talking about a show you're actually doing.That's really not why I'm saying it.
It is, as Niels Ehrling said, but also Marie Bjørn, the dramatist who makes this.
And the last thing they did together, the two of them, was You Will Meet Another, which was this hotel show where you came in and sat and had a one-on-one with the actors.At least if you were on their team, you could also sit in groups.
But it was an insanely touching show, which I was very, very touched by, which was about break-up.And I just think it was... It's such a crazy work, so I've been looking forward to doing more with the two of them.I'm looking forward to seeing it.
I'm looking forward to seeing this show, also because it's Tami Øst, whom I love, and Kristoffer Nallo, who is... It's his acting, so his practice, but I'm looking forward to seeing what he can do.
I'm always excited about new talents, and I think it's very exciting that they're going to play a love story, the two of them.Also a break-up, yes. Yes, it's a break up, but it's also a paperless couple, right?Yes.I'm very excited about it.
I'm looking forward to it.It looks so beautiful.I'm looking forward to it.Thank you.I'm looking forward to seeing the wedding.Go out on The Crown Invitator Ballet.
Speaking of new works, new choreographers, there is actually a ballet dancer, who you cast out in Life as a Choreographer, who actually got a whole evening ballet.I love them for doing it.
And I'm excited about it, Clara, because I think it sounds like a great show, and I love that they've given a new choreography to the whole evening show on the old scene, which is wonderful, given that the theater did such a thing with new dramatists.
But it's a dancer, I would say, that I've sometimes had a hard time... I understand that I've said so much, but you still fall in love with a dance style the ballet dancers have.And she's not always someone I've had the same love for.
She does something else in the company.I think that's cool.But it's also a style I've had to get used to.It's the soloist, which she probably didn't have, whose name is... Sorry if I pronounce it wrong.Øvkønne.
Økene.Økene Saukvæs.She's Spanish.She's Spanish.That was my best Spanish.It's been a long time since I've had Spanish, right?
Can I ask, is it Lorca's wedding?Is it... Is it a dream?
Yes?It's going to be bloody.It's going to be bloody.It's Federico García Lorca's.We're looking forward to hearing that I, for my very first audition at the Danish Senekundskole, went to a wedding. And I just want to say, I didn't do it well.
You know what, I also made Nora's monologue when I was stupid.So in that way we are two clichés.But I read the whole thing, and I think it's a really nice text.And there's a lot of blood.
And I love the way they describe Yucaná in the lyrics, when they say that the soloist of the Royal Ballet Yucaná-Sánchez has as a child of Spanish theater people fed lodka in with breast milk.
So I'm really looking forward to it, and it has had a premiere, there are pictures out there, it looks insanely beautiful.
It annoys me so much that I don't get to see it.You don't do that because you choose New York.Yes, I have chosen that.
My problem.But yeah, I'm looking forward to that one as well.I can understand that.I couldn't choose between the two, they're two very different things.They're also two very different things, so I think it's totally okay.
But yeah, there's a lot of good stuff coming, and there's a lot to talk about in the next episode, I imagine.
I'm looking forward to hearing about the wedding.
I'm looking forward to hearing about New York as well.
Speaking of New York, Sleep No More is closing.For good.When?January 10th.No, then I won't get to see it again.No.
I don't have any advice.They've simply become so expensive.1,500 kroner.What?!So I can't stand it, but I've seen it four times.It's nice that you haven't seen it again.
But I've sent someone else to see it for the first time, that I'm meeting in New York, and I'm really looking forward to hearing what they think about it.Then you can live through their experience.Exactly.Yeah, but it's closed for good now.
I also feel like we've been the biggest hype-women ever.
So it's on your behalf that we bring this service to you. Ends in January.You can listen to our episode about that show.Or just everything we've done since.Where we talk about how insane that show is.
Google it if you don't know what Sleep No More is, it's insane.You won't get to experience it.On that note.We didn't think we had so much to talk about.And then we're back again.
If none of us are completely sick, or you get sick in New York, or get pneumonia again, then we'll be back on December 1st.Looking forward to it.Thanks for listening.
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