Viggo, your good friend
Viggo Venneløs is an improv comedy-storytelling performance without speaking that is about being alone in life.
Theater
Like a ghost haunting Palestine
The Ghost in the Shell is an important play about two countries in a seemingly eternal conflict, disguised as a family drama.
Beautiful but confusing
"The Knife in the Fire" at the National Theatre offers a beautiful visual depiction of Kven culture and a life on a journey through the North Sea. The forces of nature and people are set in motion on stage, but are dampened by a heavy, literary stage text and poor timing.
Far away, but too close
Gaia Prestø Nielsen (18) likes the moves made with Les Miserables at the Norwegian Theatre. However, she is not taken aback.
A story we need to hear: When death becomes everyday life
Tobasi played with humor, sadness, and rage, and you were drawn into the story as he told it so vividly. The seriousness of the situation became clear, and you started to ask the question "what could they have done today if they hadn't lived under such circumstances?"
Exciting story and very coolly performed
Apart from the screens on the floor, the classroom looks like a normal classroom. The narrators are wearing everyday clothes and two of them are sitting among us at the desks. The fact that the performance takes place in a normal classroom makes the whole story seem much more real and realistic.
Forget the script: When kebab talk saved the theater
The performance makes me reflect on how clear and important the face is when talking to someone, what prejudice can do to a conversation, and how the fact that no one sees you affects what you share and what you don't.
Impressive storytelling
In the monologue performance "1969," Kate Pendry travels through present-day and childhood London, searching for answers and reconciliation. The audience is invited along, but must work to stay connected throughout.
A visual journey through fantasy and reality
Although "The Never-Ending Story" is visually impressive and has several strong scenic moments, there are some weaknesses in the direction and dramaturgy that gave me the feeling that the play really became a "never-ending story", for better or worse, writes Elianne Kvammen.
Who has time to get involved with this particular pair of friends?
Fiona Åtland has seen Teater Leikhus's performance You Mean All the Words and in this commentary she takes a look at audience development and theatre in Norway in general.