Smile at the world, maybe it will smile back.

The Central Revue gives us smiles, laughter and sausages, but gets lost in the meeting between the revue and the theater.

 The afternoon began with a trip to a deserted bedding store in a desperate search for a new job. Eventually I arrived at the store; deserted, in a shady alley with some old men on the corner. I was greeted by a single woman and with that the interview began. Unfortunately, I think my strengths took the evening before lunch, and my weak, tired sides stood waving to the boss like the royal couple. When she asked where my motivation for selling duvets lay, the race was on. 

Lost and disappointed, it was time to return to Oslo City. The consolation dinner consisted of a rather dull meal at Max-burger. The smashed burger slid down smoothly, while I dipped soggy fries in a sauce that was nowhere near as good as the one I usually order. I didn't have enough time to sip, because today it was time for a revue. I ran to the theater, then I ran even faster to the right theater, and found my seat. I got settled, sweaty, out of breath and tired, when a voice sounded loud and clear from the system. "Dear everyone, welcome to the Centralrevyen "

Centralrevyen is Oslo Nye's return to the revue tradition after 40 years. The production is directed by Karoline PU Schau, who is also one of five actors. The ensemble otherwise consists of four other Oslo Nye regular actors, and Aleksander Sjølie, who is responsible for the music.

A bouncy ensemble

In a press release issued in early February of this year, Schau said that the revue was created by the ensemble together, and it shows in the result. There is not a single weak link in the ensemble; the timing is almost always on point, and it is easy to enjoy the delicious chemistry they display on stage. In addition to the usual sketch program, each of the actors also has their own monologue. This is a fantastic move. All of the monologues highlight the actor's unique role in the ensemble, and I found myself swept up in each of the monologues. The revue establishes an arena for lowered shoulders and a relaxed atmosphere early on, and that makes it easy to get involved and enjoy the spectacle on stage. 

Although the ensemble is well-knit, it is clear that many are new to the modern revue style. Centralrevue feels like something built by professional, trained actors. The sketches have a very theatrical and dramaturgically correct structure, but I think that at times it hinders, rather than contributes. Schaus's direction is experienced as loose and relaxing, but what she directs is built on such tight and correct frameworks. I find that the connection between the two is broken in many of the sketches. Revue requires a certain looseness, and a sense of unpredictability; letting the audience be ready to be surprised, and Centralrevue seems much more planned than I would have liked.

When theater meets revue

This becomes very clear when the actor most comfortable in the direction is Schau herself. She is the one with the most experience in revue , and many of her characters are also the most remarkable. The rest of the ensemble are phenomenal in their delivery and are relatively engaging, but they have not quite managed to break free from their habits as character actors. Revue as a genre requires a more natural entertainer quality from the actor, and I find that most of the ensemble draws too strict a distinction between the characters they play in the show and themselves. As a result, a good deal of the humor falls flatter than it needs to; there are too many elements pulling the show in too many different directions. 

Can they go the distance?

Where the mismatch between the revue form and the theatrical basis is most clearly experienced is in the length of the sketches. Many of the sketches are long and imprecise. There is often a lack of punchlines, and even when there are punchlines, the sketches often continue past them. Such a structure can work, but it requires the sketches to be able to top themselves, and that rarely happens in this case. 

The Lille final is a good example. The sketch is about Oslo Nye's fight against Oslo Municipality, presented in a humorous and overdramatic way. The sketch really peaks when Schaus' parody of Mehmet Kahn Inan takes the stage, the character really gives the sketch a final good twist. The problem is that this final twist happens closer to the halfway point, than the end of the sketch, and the sketch has no more surprises to offer. As a result, I end up getting a little tired of a parody that I initially thought was exceptionally well done.

Giving the characters power

There is a need for more shorter, character-based sketches. When a sketch is only focused around one funny, interesting character, without using up that character: That's when Centralrevyen really hits gold. There are many good parodies, both of people in the media and characters we all know in daily life. Everything from theater director Runar Hodne, the slightly jaded and pathetic guy from work and a variety of Norway's horniest guys; The selection is unique and distinctive to this performance. The characters are often precise, and retain the unpredictability that the rest of the revue lacks a bit. The slapstick also works best within these small unique character traits that the actors get to play with.

Despite my criticism, I laughed a lot during Centralrevyen . The fun energy that the ensemble gives is contagious, and throughout the performance you feel more and more like an active participant. It felt good to laugh, and I began to wonder if I hadn't met the day a little pessimistically and overdramatically. Modern humor incorporates more and more cynical tendencies, and it was nice to see something that rather highlights a certain optimism. If nothing else, Centralrevyen is a genuine and strong-willed performance, even with a good many structural problems that can hamper the experience a bit. It is a performance that faces a tough world with commitment and a smile, and I think it is worth cheering for.