The Hedda Award 2007

Øyvind Osmo Eriksen for Ghosts by Henrik Ibsen (Hålogaland Theatre):

"Øyvind Osmo Eriksen has studied at the direction study of The National Academy of Theatre, and the spring of 2005 he completed his education through staging Strindberg's Creditors at The National Theatre, in the venue called Malersalen (literally: The Painters' Hall), a diploma assignment which was noticed. Since then he has staged Mio, My Son and Ghosts for Hålogaland Theatre, and Betre utan ball* (Better without the ball) for The Norwegian Theatre. Øyvind Osmo Eriksen doubles as a composer, and has made music for all his productions until now."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Torkil Sandsund for Twins by Agota Kristof (The Norwegian Theatre, the venue called Prøvesalen):

"Torkil Sandsund has studied direction at The National Academy of Theatre, and the autumn of 2005 he staged Tennessee Williams' Kingdom of Earth for Rogaland Theatre, as his diploma work. The spring of 2006 he staged Roland Schimmelpfennig's For a Better World, performed thrice during The National Stage's festival of contemporary drama, and for the time being he takes part in The National Stage's Afghanistan project in Kabul. At home he is one of the driving forces behind Podium, a test space for live, sound, video and installation art, plus an active performing arts laboratory."

Lars Erik Holter for The Sexual Neuroses of Our Parentsby Lukas Bärfuss (The National Stage, the venue called Lille Scene) and The Playboy of the Western World by John M. Synge (The Norwegian Theatre, the venue called Prøvesalen):

"Lars Erik Holter was educated as an actor at The National Academy of Theatre and had among other things a number of roles at The National Theatre in 1995 and 1996. Next he decided to become an instructor, and he completed the direction study at Oslo National Academy of the Arts in 2001. His diploma work was The Belgrade Trilogy by Biljana Srbljanovic. Since then his direction assignments have been many, including working for Rogaland Theatre (The Caretaker, 2004), The National Theatre (The Wind in the Willows, 2002), The Norwegian Touring Theatre/The National Theatre, (Henrik and Emilie, 2006) and The Norwegian Theatre (Black Milk, 2005)."

Kristian Fr. Figenschow jr. for the role of Pastor Manders in Ghosts by Henrik Ibsen, Hålogaland Theatre:

"Kristian Fr. Figenschow was born in 1962. He has no formal theatre education, and describes himself as 'autodidact'. But prior to starting working for Hålogaland Theatre in 1989 he was very active in the revue community of Tromsø, and he had also taken part in the Norwegian fiction film Piratene* (The Pirates). More movies have added to that, as Kristian Fr. Figenschow has played in Vagabonds as well as Insomnia, and he took part in Norwegian Broadcasting Corporation's series Offshore. At Hålogaland Theatre he harvested success in Arthur Arntzen's Den fordømte nordlendingen* (The Damned Northerner), but he has also interpreted a number of the classic male roles: Hjalmar Ekdal in The Wild Duck, Vershinin in Three Sisters and Borkin in Ivanov. At Nordland Theatre he has been Holberg's Jeppe, and with Ketil Høegh he had great success with the Northern Norwegian version of Stones in His Pockets. In 2005 he was nominated to The Hedda Award in the category of excellent performance for his interpretation of Puntila in Brecht's Puntila at Hålogaland Theatre."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Ola G. Furuseth for the role of Elling in Elling i nærkontakt* (Elling in close contact) by Ingvar Ambjørnsen at Teatret Vårt (Our Theatre):

"Ola G. Furuseth was born in 1975, and educated as an actor at Arts Educational School in London. After graduation he started his career at Trøndelag Theatre, where he has acted in Jesper Halle's 24 Unsuccessful Norwegians and The Littlewoods, in the Presnyakov brothers' Terrorism and Kurt Racks His Brain. The spring of 2006 he was George Tesman in Hedda Gabler, and the production was nominated for The Hedda Award in the category of best production. This autumn he is back at Trøndelag Theatre, but in 2006/2007 he visited Teatret Vårt (Our Theatre), where he took part in Peer! and Ox and Donkey prior to the title role of Elling i nærkontakt* (Elling in close contact) this spring."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Sven Nordin for the role of Isak Sellanrå in Growth of the Soil by Hamsun/Hartmann/Tørresen at The National Theatre:

"Sven Nordin was born in 1957, and attended The National Academy of Theatre from 1979 to 1981. He made his debut as an actor at Oslo Nye Teater (Oslo New Theatre) the autumn of 1981 in Johan Borgen's The Vikings. In 1990 he became an employee of The National Theatre, where the plays he performed in included Carmen, John Gabriel Borkman, Pillars of Society and Romeo and Juliet. He is a very versatile actor who has also reached a broad audience, in the role of Elling's best friend Kjell Bjarne onstage and onscreen, in musicals such as The Full Monty, and not least the role of Nils in the sitcom Mot i brøstet* (Courage in the chest). This autumn he is to be found at Chateau Neuf in a new musical, Dirty Rotten Scoundrels."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Marianne Nielsen for the role of Anna in Tiden er vårt hjem* (Time is our home) by Lars Norén at The National Stage, the small stage called Småscenen:

"Marianne Nielsen graduated from The National Academy of Theatre in 1984. Since then the theatres she has been connected to include Trøndelag Theatre and Teatret Vårt (Our Theatre). From 1988 she has worked for The National Stage. Here she has interpreted a number of roles. She has had parts in The Witch by Hans Wiers Jenssen (1990), in Molière's Tartuffe (1997), in Six Characters in Search of an Author by Luigi Pirandello and Life x 3 by Yasmina Reza (both in 2001). In 2002 she acted in Blood by Lars Norén and The Winter's Tale by William Shakespeare, in 2003 in productions as different as the musical The Full Monty and Dale Wasserman's One Flew over the Cuckoo's Nest. In 2004 she performed in The Wild Duck by Henrik Ibsen and in 2005 in Jon Fosse's Dream of Autumn and Shakespeare's Macbeth. In 2001 she received the honorary award of Svend von Düring as well as the Bergen theatre award Pernille for her work as an actress."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Birgitte Larsen for the role of Laura Wingfield in The Glass Menagerie by Tennessee Williams at The National Theatre (Amphi Stage):

"Birgitte Larsen was only 18 years old when she was accepted by The Norwegian Academy of Theatre at her very first try. This was in 2000, and in 2003 started her career at The Norwegian Theatre, where she made her debut as Angel in Bikubesong* (Song of the Beehives). In 2004 she started working for The National Theatre, where she has been since. Among her roles are Erna in The Theatremaker by Thomas Bernhard (2004), Hedvig in The Wild Duck (2004), the youngest daughter in War by Lars Norén (2005), the other young woman in Jon Fosse's Sleep (2005), and the girl in Lorca's Blood Wedding (2006). She also took part in the movie The Bothersome Man (2006). Birgitte Larsen has been awarded the culture grants of Sverre Anker Ousdal and the municipality of Kvinesdal."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Ida Holten Worsøe for the role of Sally Bowles in Cabaret by Masteroff/Kander/Ebb, Hålogaland Theatre, the main stage called Scene Vest:

"Ida Holten Worsøe was educated within theatre and musicals at Academy of Music and Drama in Gothenburg, where she studied from 2002 to 2005. Prior to starting there, she attended the dance theatre academy DT-Danseteater in Copenhagen for a year, in 2001. She has been a ballet pedagogue, singing teacher and instructor. The autumn of 2003 she acted in Appelsinene på Fagerborg* (The Fagerborg Oranges) by Lars Saabye Christensen at Oslo Nye Teater (Oslo New Theatre), and in 2004 she performed the 'one girl's' musical Sannheten om Susi* (The Truth about Susi). The latter she also directed. The autumn of 2004 she took part in Jul i Blåfjell* (Christmas in The Blue Mountain) at Oslo Nye Teater (Oslo New Theatre), and the autumn of 2005 she had her first role at Hålogaland Theatre. In 2006 she was nominated for The Hedda Award in the category of best supporting actress for the role of Marcela in the Spanish comedy classic The Dog in the Manger by Lope de Vega."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning. Fagerborg is a neighbourhood in Oslo.

Natta* (The Night) by Wolf Erlbruch, directed by Alex Scherpf (Agder Theatre):

"Natta* (The Night) by the popular German children's book writer Wolf Erlbruch, had its world wide premiere at Agder Theatre in March this year. It is the story about little Truls who wants to travel the world even though it's night-time, and he brings his reluctant dad along. Natta was directed towards children aged three years or more, and this autumn it tours with The Cultural Rucksack in Agder."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Almighty Voice by Geirdis Bjørlo, produced in collaboration with Nordland Visual Theatre:

"The production is based on the autobiography of the Native American Chief Long Lance. It goes directly into the issues connected to the cultural crashes of our time, and is told using a stage expression making it understandable for children and adults alike. Almighty Voice toured with Nordland Visual Theatre in 2006 and 2007, and this autumn it tours with Hordaland Theatre."

Betre utan ball* (Better without the ball) by Glenn Belden, directed by Øyvind Osmo Eriksen.  (The Norwegian Theatre, the venue called Scene 2):

"New Norwegian play for children about daring to walk one's own path."

Aftenposten

"The story is realistic and shows a world filled with resistance from children peers and adults. (...) a production which with warmth and seriousness discusses how identity develops and how conflicts can be handled within a social context."

Dagsavisen

"Betre utan ball is a good play for children (...) liberating that Glenn Belden dares to discuss a problem like harassment without lifting an admonishing, politically correct pointing finger."

idalou.no.

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Pål Sverre Valheim Hagen for the roles of Bjørn Disel in Verdas mest forelska par* (The Couple in the World Who is the Most in Love) by Rune Belsvik (The Norwegian Theatre, the venue called Scene 2) and the rooster in No One Writes to the Colonel by Gabriel Garcia Marquéz (The Norwegian Theatre, the venue called Scene 2):

"Pål Sverre Valheim Hagen graduated from The National Academy of Theatre in 2003, and the autumn of 2003 he took part in two productions at The Norwegian Theatre: The critically acclaimed Bikubesong* (Song of the Beehives) and Tord Akerbæk's debut as a playwright, Bima and Bramati. The spring of 2004 he started working for Hålogaland Theatre, where he acted the title role of Chekhov's Ivanov. The autumn of 2004 he was he boy in The Slope, a co-production by The Norwegian Theatre and Hålogaland Theatre in collaboration, and the spring of 2005 he made his mark as Raskolnikov. From the autumn of 2006 he has been an employee of The Norwegian Theatre."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Jan Gunnar Røise for the role of Jim in The Glass Menagerie by Tennessee Williams (The National Theatre, the venue called Amfiscenen, or the Amphi Stage):

"Jan Gunnar Røise graduated from The National Academy of Theatre in 2000. The same year he started working for The National Theatre, and during his seven years at the theatre he has taken part in more than 20 productions. Among other roles, he has played Tommy in When the Robbers Came to Cardamom Town (2001), Benjamin in Strindberg's Easter (2002), Cherubin in The Marriage of Figaro (2004), Herr Nilsson in Pippi Longstocking (2005), Ragnar Brovik in The Master Builder and Hjalmar Ekdal in The Wild Duck (both in 2006). He has taken part in movies such as Hawaii, Oslo, Svein and the Rat and Comrade Pedersen. This autumn he has several roles in Faust, the first production by the new Torshov group."

Sverre Røssummoen for the role of the fine gentleman in The Sexual Neuroses of Our Parents by Lukas Bärfuss (The National Stage, the venue called Lille Scene):

"Last autumn Sverre Røssummoen could celebrate his 30th anniversary as an actor. Most of the time he has worked for The National Stage in Bergen, where he has had central parts in plays including Developments by Klaus Rifbjerg (1979), Livet med Marilyn* (Life with Marilyn) (1987), Circus by Pavel Kohout (1990), An Enemy of the People (2001), One Flew over the Cuckoo's Nest by Dale Wassermann (2003), The Pillowman by Martin McDonagh, (2004), Dream of Autumn (2005) and Macbeth (2006). He has recorded several audiobooks, and is soon to be seen in the cinemas in Erik Richter Strand's Varg Veum movie Sleeping Beauty."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Hildegun Riise for the role of the grandmother in Twins by Agota Kristof (The Norwegian Theatre, the venue called Prøvesalen):

"Hildegun Riise graduated from The National Academy of Theatre, Oslo in 1986. The same year she started working for The Norwegian Theatre, where she has worked since. The past few years she has played classical roles such as Queen Clytemnestra in Iphigeneia at Aulis, and Arkadina in Chekhov's The Seagull (2003), but also modern female characters of contemporary drama, such as the woman in Jon Fosse's Beautiful (2001) and Sara Osen in Kjartan Fløgstad's Evig varer lengst* (Eternity lasts the longest). She became well-known all over the country when playing the recurring character Agnes in the TV series Western Wind, and she has also taken part in a number of movies. For her effort in The Other Side of Sunday Tokyo International Film Festival selected her as best actress in 1996, and in 2001 she won Amanda as best leading actress for her role in Detector."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Ellen Dorrit Petersen for the roles of Erika in The Bus by Lukas Bärfuss (The Norwegian Theatre, the venue called Scene 2), and Pegeen in The Playboy of the Western World by John M. Synge (The Norwegian Theatre, the venue called Prøvesalen):

"Ellen Dorrit Petersen completed her education as an actress at Oslo National Academy of the Arts in 2005. The same autumn she started working for Rogaland Theatre, where she acted in Pinocchio's ashes by Danish Jokum Rohde, and had the role of Mrs. Maja against Even Stormoen's Rubek in When We Dead Awaken. The autumn of 2006 she transferred to The Norwegian Theatre, where she, besides the two roles she is nominated for, also took part in the production for children nominated for The Hedda Award, Betre utan ball* (Better without a ball). This summer Erik Poppe started filming his new movie, Troubled Water, in which she has the role of a female priest against another actor who is nominated for Hedda, Pål Sverre Valheim Hagen."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Helga Wendelborg for the role of Oddrun in Public Health by Carl Frode Tiller (Trøndelag Theatre, the venue called Studioscenen):

"Helga Wendelborg is an employee of Trøndelag Theatre's, and Trøndelag Theatre was also where she was educated as an actress: She was a student at the theatre from 1961 to 1964. She has worked for The Norwegian Touring Theatre, but she has had most of her career in Trondheim. She is a versatile artist with experience from most types of plays: Operettas, musicals, dramas, farces, comedies, theatre for children, cabarets. During the past season she was Turid Kotum in the theatre's popular dramatisation ofBerlin Poplars, and she took part in Trondheim Open I and II. She has also been responsible for the theatre's Eventyrstunder for barn* (Fairytale sessions for children)."

**Sceneweb's comment: The Hedda Award erroneously named the play written by Carl Frode Tiller, in which Helga Wendelborg played the role of Oddrun, as Eplehagen* (The Apple Orchard). Carl Frode Tiller wrote Public Health, in which Helga Wendelborg played Oddrun. It was performed at the same time as Eplehagen by Frode Sander Øien. Wendelborg did not perform in the latter.

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Kari Gravklev for the stage design and costumes for Twins (The Norwegian Theatre, the venue called Prøvesalen):

"Kari Gravklev started her career at Hålogaland Theatre, for which she worked from 1973 to 1979. Today she is one of our most known, renowned and used stage designers. She has had assignments at practically every Norwegian theatre institution, but she has also worked for independent companies, film and TV. Not to mention the opening ceremony at the Lillehammer Olympics.

Last year Six Characters in Search of an Author, Jon Fosse's I Am the Wind, and Black Battles with Dogs. This autumn she has already found the time to put her mark on two of the season's important and highly different productions: The Seagull at The Norwegian Theatre and Vinterforvaring* (Winter Storage) at The National Theatre's Amfiscene (the Amphi Stage)**. One classic and one contemporary drama, a major stage and a smaller one: Kari Gravklev is a versatile artist."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

**Correction from Sceneweb: The Seagull at The Norwegian Theatre and Vinterforvaring* (Winter Storage) at The National Theatre's Amfiscene (the Amphi Stage) both took place in 2003, not in 2007.

Nora Furuholmen and Joakim Moe Røisland for the stage design and lighting design for Ghosts (Hålogaland Theatre):

"Nora Furuholmen was educated as a furniture designer from Oslo National Academy of the Arts 2002-2005. She has been represented at exhibitions in New York, Washington, Tokyo and Copenhagen, and has won several awards for her furniture design. She also has broad experience as a stage designer and costume designer, and her productions include Bullshot Crummond at Rogaland Theatre (2001/2002), Mio, My Son at Hålogaland Theatre (2006), and Betre utan ball* (Better without the ball) at The Norwegian Theatre (2007).

Lighting designer Joakim Moe Røisland has done the lighting design for The National Theatre's Ashes to Ashes, Creditors and Melancholy (all in 2005), among other productions. He now leads the firm www.medvind.no, and has worked on exhibitions, installations, art projects and events."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Nora Furuholmen and Joakim Moe Røisland for the stage design and lighting design for Ghosts (Hålogaland Theatre):

"Nora Furuholmen was educated as a furniture designer from Oslo National Academy of the Arts 2002-2005. She has been represented at exhibitions in New York, Washington, Tokyo and Copenhagen, and has won several awards for her furniture design. She also has broad experience as a stage designer and costume designer, and her productions include Bullshot Crummond at Rogaland Theatre (2001/2002), Mio, My Son at Hålogaland Theatre (2006), and Betre utan ball* (Better without the ball) at The Norwegian Theatre (2007).

Lighting designer Joakim Moe Røisland has done the lighting design for The National Theatre's Ashes to Ashes, Creditors and Melancholy (all in 2005), among other productions. He now leads the firm www.medvind.no, and has worked on exhibitions, installations, art projects and events."

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.

Ida Müller for the stage design and costumes for A Doll's House (Vegard Vinge and Ida Müller):

"Ida Müller has a diploma in stage design from Berlin. She has shown her work in Oslo and Berlin, plus worked as an assistant at theatre and opera venues in Wiesbaden, Dresden, Los Angeles, Warsaw, Berlin, Oslo and Hamburg. For the time being she and Vegard Vinge prepare the opening of their version of Ghosts at Black Box Teater."

Iphigeneia by Finn Iunker, Verk Produksjoner AKA Verk Productions/Black Box Teater:

"Iphigeneia has become a mesmerising theatre performance with much it wants told."

Dagsavisen

"Topical anti-war theatre"

Klassekampen

"The clear political involvement of the actors and director adds friction to the ironical, finely tuned in Iunker's text and makes the performance open and inclusive."

Norsk Shakespeare- og Teatertidskrift

Growth of the Soil by Hamsun/Hartmann/Tørressen, directed by Sebastian Hartmann (The National Theatre, the main stage called Hovedscenen):

"Instructor Sebastian Hartmann occupies The National Theatre with tenderness and Nazi flags. Pray that Growth of the Soil is the beginning of a new era. (...) I say it again: With Growth of the Soil The National Theatre has stepped over a threshold. One has become used to a sleep-inducing mood underneath the chandeliers, but hoopla! - all of a sudden the Norwegian zombies get to life underneath the lorgnette.”

Morgenbladet

"Hamsun's desolate landscape drama has found a modern expression and a visually powerful wrapping at The National Theatre. (...) Growth of the Soil has become Hamsun with the subtext on the outside. Physical and unpolished."

Aftenposten

"Grandioso, funny, wild and mad Growth of the Soil at the National Theatre."

NRK P2

Tilfellet Torgersen* (The Case of Torgersen) by Jens Bjørneboe, directed by Moqi Simon Trolin, Ibsen Theatre:

"The characters are drawn clearly, but become stereotypes. So if the material is strong and the form exciting, the productions becomes a little bit too obvious. Still: The Torgersen case we will never be done with."

Aftenposten

"Theatre production about a possibly innocently sentenced man could have become a dry affair, but at Ibsen Theatre the spectators sit as if they were nailed to their chairs during the intense performance."

Telemarksavisa

"In truth involved and passionate political theatre, and it makes the production an unusual and interesting number in our emotionally detached time."

Klassekampen

*Not yet translated into English. The title within parentheses is the Norwegian title's literal meaning.