#folketeatret

[chaotic-historian]

PEEKABOO

It's time for more promo pics from Folketeatret's current (Nov. 2023) production of Treasure Island the Musical! Today featuring the skeleton (haha) crew of the Flying Dutchman boarding the Hispaniola during a very atmospheric blues song (titled The Flying Dutchman), to take the newly dead O'Brien with them. Israel Hands does the singing and the freaking out.

@verecunda

[hanna-water]

😍 Vegard, Helene and Emma Ylvisåker at the Premiere of Jesus Christ Superstar at Folketeatret 30.08.2024

source: https://www.seher.no/kjendis/viser-frem-babymagen/81875301

[useless-denmarkfacts]

hvor længe kan man nå at se skatteøen? jeg gad herregodt men mit skema er lidt stramt frem til jul

Gode nyheder til dig anon! Forestillingen kører i Nørregade (dvs på selve Folketeatret) til og med den 31 december, hvorefter den tager på tourne rundt i landet! Der er dog super, super begrænsede billetter så vidt jeg kan se, og flere forestillinger hvor der kun er ståpladser. Billetter findes her

Mand, Folketeatret burde sponsorere mig 😂🏴‍☠️

[norwegianbookofmormonfan]

Folketeatret has announced 3 of the main cast of Book of Mormon Norway 2025!

Elder Price: Jakob Schøyen Andersen

Jakob is an actor, comedian and writer. He was born in 1990. Best known for the scetch show Kollektivet and playing Dynamitt-Harry in Olsenbanden Jr (children's movies) back when he was 10-14 years old.

Elder Cunningham: Snorre Kind Monsson

Snorre is a comedian and actor. He was born in 2000. Best known for the tv-show Gauteshow. This is his theatre debut.

Mafala Hatimbi: Jonna Støme

Jonna is a comedian, tv-host, produser and writer. He was born in 1978. This is his theatre debut.

[glassprism]

Hi GlassPrism! I would like to ask you about the "prototype" Romanian non-replica performance. Maybe you wrote about it before, then sorry. I don't understand the hype around the show. Why did it reach the international level, while the other non-replicas did not? And it is in Greek, were Norwegian (not in their language)? Why the countries dont do self a show? Can it be because of the costume designer (I often see his name highlighted, so I'm think about him)what is your opinion,how do you see?

Quick clarification: the Romanian non-replica, which ran very briefly in 2015, featured Romanian performers and was performed in Romanian; the Norwegian production, which from 2018-2019, had mainly Norwegian or at least Scandinavian actors and was performed in Norwegian; and the Greek production ran in 2020 and has returned for a run in 2023, and has so far featured mainly British and Australian performers and is being performed in English. So the only production to not perform in the country's native language are the Greek productions, for reasons I'll make clear below.

Anyway, as to your actual question: budget and availability seem to be the biggest reasons, as with similar questions of this nature. In an interview with the producer of the Norwegian production, Karianne Jæger, she is asked specifically why she didn't go with the original design. Her explanation was that, "In the beginning that was certainly an option, but it became evident we couldn't do that in this venue. Folketeatret is a protected building and thus it is impossible to make changes to stage and scenery. So we knew we had to look for other options." She also explained that Norway "is a "young" musical theatre nation" and that, coupled with a relatively small population, means that doing a big mega-musical can be problematic in terms of budgeting - they would have to have a lot of initial capital to get the musical set up, and then run for several months with sold out houses just to make a profit.

So that is likely why Norway didn't go for the original design or try something totally new (which can also cost time, money, and effort). As for why they chose the Romanian non-replica and not something else, Jæger explained, "we knew we had to look for other options. That option became opera director Stephen Barlow, who had already done a new version of the musical in Bucharest, Romania back in 2015."

So it seems that it was simply a matter of Barlow and the rest of his creative team being available, and Barlow and his team being willing to do it because it gave them the opportunity to have another shot at the production: in an interview with Andrew Riley, the designer, he says that he was only given a few weeks to do the designs for Romania, so joining the production in Norway allowed him to go in further detail and expand on his concepts. I will also say, though, that Stephen Barlow and Andrew Riley are both based in London, where the Really Useful Group, which helps license the show out, is also located, so it is possible that RUG knew of that creative team, trusted them to do their job right, and suggested them to the Norwegian creatives as an option for their show.

And as for the Greek production, the musical theatre industry in Greece is even smaller and newer than Norway, so they were probably just as limited (if not more so) in budget and availability as Norway, and that's probably the biggest factor in why they went for the Norwegian production - it was available, they could literally just move the sets and costumes over, and they could then get a bunch of the cast members from the West End who already had experience in doing the show (albeit in a different production). You can't really say that about, I dunno, the Hungarian non-replica or the Prague non-replica or whatever, and again, creating their own version still costs time, money, and effort, and requires a good deal of skill and experience.

So that's what I think, I hope it explains it!

[chaotic-historian]

Treasure Island the Musical, Folketeatret, 2023

despite centuries of narrative innovation, we still go crazy for when the homosexuals are on a boat

[bodoposten]

Ulrikke Brandstorp leder «Bakemesterskapet» på NRK

Det siste året har Ulrikke Brandstorp (27) hatt hovedrollen i Mamma Mia på Folketeatret i Oslo, men nå byttes musikken ut med mel, sukker og gjær. Før sommeren skal NRK spille inn konkurranserealityen «Bakemesterskapet» i Bergen, med Ulrikke som programleder. Dette blir den norske versjonen av «The Great British Bake Off», verdens største bakeprogram. I programmet skal 12 deltakere fra hele…

[kulturformidlet]

En kæk modernisering

Denne anmeldelse blev oprindeligt publiceret på teateravisen.dk Folketeatrets 'Robin Hood' er på bedste vis omgjort til en middelalder-meta-fortælling med moderne twists & turns og kan anbefales varmt for alle aldre. Der er fart over feltet, britisk lavkomik, anakronistiske meta-jokes og eventyrsymbolik i rå mængder i Folketeatres familieforestilling om den gode Robin Hood, der tager fra de rige og giver til de fattige.   Forestillingen giver til gengæld gavmildt både til de små og store publikummer og slipper umådelig godt fra sin kække modernisering af det gamle eventyr i Sherwoodskoven. Munken Broder Tuck (Jesper Riefensthal), så lummer som var det Rytteriet, agerer både fortæller og biperson komplet med buuh-skilte og afstemninger hos publikum som ivrig folkedomstol. Effektfuld scenografi Scenografien, særligt i første akt, er uhyre enkel. Skuespillerne hiver selv de sort/hvid tegnede kulisser frem på lærredet bag dem efterhånden som handlingen går fremad.  Alt fra brusende elve, slotsmure og bål at varme sig ved klares på denne måde. Det er enkelt og effektfuldt, og så stor en del af den bevidst punkterede fiktionspagt, at ingen andet end smiler over de fredløse børn, der kommer ind som karikerede tegninger på et kosteskaft (stadig holdt i sort/hvid som perler på en snor), der følgelig rystes overbevisende, når de bævrer af skræk over Sheriffen af Nottingham og særligt Sir Guy of Gisbornes ondskab. Han spilles i øvrigt mesterligt af Mathias Sprogøe Fletting, der blander sin tegneserieondskab med en sleskhed, der er en pervers Frank Hvam værdig. Det er ren fryd. Lady Marian ikke så klassisk ladylike I det hele tage  er der stærke figurer i denne forestilling. ’Hende vil jeg være’, hvisker min lille ledsager benovet, da Lady Marian dukker op i fuld korset-brynje som en anden superwoman af skoven og klarer ærterne for drengene. Trods den anseelige blomsterdekoration i håret er Marion ikke nogen bly viol i denne opsætning. Selv i bueskydningens ædle disciplin – Robin Hoods trademark om man vil – giver hun ham tørt på i knap så ladylike stil. Det er vældig politisk korrekt, men det batter altså noget på scenen med så handlekraftig en wing-woman til den folkekære hovedperson, og Emilie Rasmussen gør det godt. Dannelsesrejsen hos Robin Hood Robin Hood (Christopher Læssø) følger vi helt fra en temmelig fjollet fødsel og op igennem livet, til de unge teenageår, hvor han boltrer sig i kvinder og sprut, som en rigtig fredløs livsnyder in spe. Socialt indigneret er det dog nemt at blive, når man ser på de pragtfulde skurke – ikke mindst over-the-top Prins John (en sarkastisk, kimsende Jon Lange) i guldglitterstøvler til knæene, oversize guldkrone og guldure hængende fra guldkåben – der efter eget udsagn ’prøver at spare’. De er mindst lige så ligeglade med ret og rimeligt som Robin bliver med de regler, der opretholder status quo, og så går det ellers over stok og sten. Robin Hood vil ændre verden og han har hele publikum med sig. Det er en fin udvikling i karakteren at få med. Musikalske referencer med spredehagl Særligt er det dog blandingen af regulær handling og de mange lavpandede reference-indskydelser, der virkelig løfter denne familieforestilling. Her er både noget for store og små som det sig hør og bør i denne genre. Min 6-årige ledsager klukgrinede længe af, at Broder Tuck blev til Broder Tik Tok, hvor undertegnede på samme vis morede sig kosteligt over den spontane fællessang på scenen af Bryan Adams-hittet ’(Everything I do) I do it for you’ som et kærligt, anmassende nik til Kevin Costners blockbuster af en Robin Hood-film fra 1991. Vi var begge flade af grin, da det på samme måde – helt malplaceret pga. en enkel kommentar om Afrika – var kampråbet fra Løvernes Konge, der gjaldede kortvarigt fra alle på scenen med stor kraft. Drama og britisk lavkomik Musikken bruges også mere alvorligt, om end lige så skamløst anakronistisk, i den dramatiske åbning af 2. akt, der sker til Eurythmics ’ Sweet Dreams’ i langsomt tempo, mens alt foregår i slow motion på scenen, der er badet i rødt lys. Der er med andre ord både reelt drama at kaste sine følelser efter og reel social ulighed at harmes over, sideløbene med en møller, der hedder Graham Spelt og en Lille John, der elsker ramasjang. Undervejs er der også indskrevet korte små referencer til den corona-forskyldte krammeforskrækkelse og meetoo omfavnes med en velplaceret ’hænder på lår’-oneliner under den store bueskydningsturnering mod slut. Det er reelt underholdende for alle aldre. Varme anbefalinger herfra. FAKTA Folketeatret: Robin Hood – Eventyr i Sherwood - Dramatiker: Ken Ludwig. Oversættelse: Henrik Lykkegaard. Instruktion: Frede Gulbrandsen. Scenografi: Julie Forchhammer. Koreografi: Sofie Akerø. Kampkoreografi: Klaus Hjuler. Komponister: Jullie Hjetland, Kirstine Lindemann, Hans Find Møller. Medvirkende: Christopher Læssø, Emilie Rasmussen, Morten Christensen, Jon Lange, Louis Bodnia Andersen, Josefine Tvermoes, Mathias Sprogøe Fletting, Jesper Riefensthal. Fra 6 år. Varighed: 2 timer og ti minutter inkl. pause. Set søndag 18 oktober 2020 på Folketeatret, hvor den spiller til 2. december 2020. Forestillingen turnerer fra 13. januar til 18. marts 2021. www.folketeatret.dk

[oneiriad]

Went to see Thor: Love & Thunder with what I thought was no real expectations except goats. Honestly? It should have skipped the naked Thor ass and leaned into being the kid's movie it obviously wanted to be.

[iadoremusicals]

This is truly

EPIC!!!

Chandelier crash in POTO Oslo, design by Andrew Riley

Save it while it’s still up, peeps 😜

[chiropteracupola]

TREASURE ISLAND MUSICALS, OR AT LEAST THE ONES I COULD SORT OF FIND IN A FIVE-MINUTE INTERNET SEARCH: Rated by Me, Sometime Late Last Night, In A Haze of Confusion and Banana Bread.  Do not expect coherence, and please take all judgments with a grain of salt. 

Folketeatret 2019 (The Glorious One) - These people know what they’re doing.  Glorious sets and costumes, and the songs that I can find range from fair to excellent.  From what I can see, the characterization is pretty good as well!  Can’t really find enough of it to make judgements about the plot.  Fairly sure I could find a full version if I googled about for a bit, but I’m so tired and I want to go to sleeeeep...  Lots of fog and ominousness, with a suitably scary Flint and Silver.  I want to see more of this, and will now have to start learning Danish in order to figure out what they’re singing about.  8/10.

Burning Coal Theatre 2018 (The Chaotic One) - It is …fun, at times.  The songs are good and reasonably catchy, but the characterization is iffy at best.  Unclear what they thought they were doing, Silver is pretty good but everyone else is a mess and a half.  The production team has clearly seen Treasure Planet many times, as seen in its lack of Trelawney and frankly distressing Livesey, among many other suspect decisions.  Plot has a great deal of awkwardness, but makes great use of the “Anyone Who Could Even Vaguely Be Considered A Father Figure Is Now My Dad” thing.  Second act goes sideways, downhill, and a lot of other places I would rather it not have gone.  My eyebrows got a workout, but I did get a few laughs out of it.   Two hours of my life I probably could have spent better. 5/10.

Muppets Treasure Island (The Classic One) - I have tried, tried so very hard, to say something other than positive about Muppets Treasure Island.  I still get the songs in my head sometimes despite the fact I haven’t heard most of them in years.  I’m listening to Shiver My Timbers, which is probably the best Piratical Song I’ve ever heard.  And I’ve heard a lot of Piratical Songs.  Plot does some Things, but the pacing actually seems to run better than the original in the second half.  It’s beautiful.  It’s a classic.  It’s the Muppets’ show now, and possibly forever.  9/10.

Arkansas Repertory Theatre 2013 (The Incomprehensible One) - Sweet Bob Ross in heaven, something happened here.  I can only find bits and pieces of the production, and an interview with the production team that sounds like one of those Monster Factory “Every Time Griffin And Justin Say ‘Boy’” compilations, except less fun.  I think this might be a production of The Sea-Cook: A Story For Boys.  Style is interesting, looks kind of like some kind of pirate metal band?  Fun to look at, but I genuinely can’t tell if these people know what a boat is, which is very worrying.  Songs are a bit of a disaster.  2/10.

Music Theater International (The Mysterious One) - May or may not be real.  I can find only the vaguest references to its existence, but apparently there’s a song called “Cheese! Cheese!”.  From that alone I trust that these people know what they’re doing.  3/10.

I do not think I ever want to see a Treasure Island musical again, unless it’s Muppets Treasure Island.  I am done, so very very done. 

[chaotic-historian]

WELCOME BACK TO TREASURE ISLAND SEASON PEOPLE

It is time once more for me to go feral over Folketeatret's rendition of Treasure Island the Musical, which runs again this very autumn and winter! Starting with THIS ship-worthy shot of Trelawney and Livesey.

They look like they're getting married 😭

@verecunda don't know if you're still in on this ship, but I sure am!

[hanna-water]

Vegard (+Helene and Emma 😊) and Bard at the Miss Saigon musical premiere 01.09.2023

[useless-denmarkfacts]

PEEKABOO

Det er Skatteøen-tid folkens! Folketeatret sætter den op igen igen igen, og admiralen skal self ind og admirale den! Hvem ellers er besat af Danmarks nationale musical?

[norwegianbookofmormonfan]

Realizing this blog has a second chance at life!

There will be a new Norwegian production of The Book of Mormon in autumn 2025.

This time at Folketeatret

The last chance to sign up to auditions is 4th of March 2024

Quite excited to see if any of the actors from the last production will end up in the new one. Especially since quite a few of the elders have been working in musicals at Folketeatret the past years.

[ingridmv88]

Jeg er alt for lav for rollen som Cosette tydeligvis. 😂#lesmisoslo #folketeatret #scenekvelder #lesmiserables #musical #youngstorget #teateropplevelser #kulturfredag #teaterfredag #kulturioslo (ved Folketeateret)