The Hedda Award 2003

Kjetil Bang-Hansen for The Importance of Being Earnest by Oscar Wilde at The National Theatre:

"Ever since he in 1962 graduated from The National Academy of Theatre, Kjetil Bang-Hansen has been a central mover in Norwegian theatre. Today he is steadily employed as an instructor and artistic counsellor at The National Theatre, where he this autumn delights audiences with two excellent, but very different productions, The Celebration and The Animals in the Hunchback Wood.

He started his theatre career as an actor and instructor at different Norwegian theatres, and he has been the dean of The National Academy of Theatre, as well as the artistic director and CEO of several of our major venues: Rogaland Theatre, The National Stage, The National Theatre and Oslo Nye Teater (Oslo New Theatre). Kjetil Bang-Hansen has directed productions at most Norwegian theatres, as well as visiting as a director in Poland, Denmark, France and USA."

Oskaras Koršunovas for Winter by Jon Fosse at The Torshov Theatre:

"Oskaras Koršunovas is from Lithuania, and was born in Vilnius in 1969. As early as when he was 20 years, he was given the responsibility for the first of his many productions at the Lithuanian national theatre, and with support from the Lithuanian ministry of culture he founded his own company in 1999.

He has been visiting Norway, Poland, Sweden and Berlin as an instructor, and visited The Torshov Theatre for the first time in 2001. At the time he staged We Are Not Cookies. This autumn his version of Sarah Kane's Cleansed premiered at Elverket, one of the satellite venues of The Royal Dramatic Theatre."

Jon Tombre for The Flood by Tom Remlov/Jonny Halberg at Ibsen Theatre:

"Jon Tombre has worked with theatre for a long time. In 1990 he started the independent company Det Motsatte Prosjekt and in 1991 he was accepted as a student at The National Academy of Theatre's direction study. Jon Tombre is one of the very few directors who work inside as well as outside (the institutions, Sceneweb's addition).

He has held onto Det Motsatte Prosjekt, though it has now been renamed Tombre (DMP), and his most recent production with the company, for now, was Aktuell Rapport* (Contemporary Report), performed at Black Box Teater last year. But he has also had direction assignments for The National Theatre, The Norwegian Theatre, Hålogaland Theatre, Sogn og Fjordane Theatre and Ibsen Theatre, among others. This autumn he was one of the three directors behind the project 24 Unsuccessful Norwegians."

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

Dustefjerten og andungen* (The Dork Fart and the Duck Chick) by Rune Belsvik. Directed by Line Rosvoll, The Norwegian Theatre, Scene 2 (Stage 2):

"At the great theatre institutions children and youth usually experience theatre from the main stages. Only rarely children get the opportunity to enjoy another important kind of theatre, the close and intimate of the smaller venues - and perhaps also a play one has not seen before. Because of this, it is a joy that The Norwegian Theatre this spring chose to stage Dustefjerten og Andungen* (The Dork Fart and the Duck Chick)."

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

Three Mothers by Dansdesign, part of Arts Council Norway's project Glitterbird, with art for the youngest:

"Three Mothers is totally unusual theatre - a production made for a totally unusual audience, children who have not yet reached the age of three years. And the performance achieves amazing contact with the target group."

The Brothers Lionheart by Astrid Lindgren. Directed by: Alexander Mørk-Eidem, The National Theatre, the main stage:

"The eventually constantly more exciting director Alexander Mørk-Eidem has created a unified, effectual and grand theatre production, almost without a flaw. (...) Great theatre this is anyway."

Bengt Calmeyer in Dagsavisen

Kari Gravklev for the stage design for The Song of the Say-Sayer by Daniel Danis at The Norwegian Theatre:

"Kari Gravklev began her career at Hålogaland Theatre, where she worked from 1973 to 1979. Today she is among our most known, most renown and used stage designers. She has had assignments at approximately all the Norwegian theatre institutions, but has also worked for independent companies, film and TV. Not to talk about the opening ceremony during the Lillehammer Olympics.

This autumn she has already found the time to make her mark upon two of the season's most important and highly diverse productions: The Seagull at The Norwegian Theatre and Winter Storage at The National Theatre's Amphi stage (Amfiscenen). One classic and one contemporary drama, a large stage and a small one: Kari Gravklev is a versatile artist."

Yngvar Julin for the stage design for The Flood by Tom Remlov/Jonny Halberg at Ibsen Theatre:

"Yngvar Julin is an architect, educated at The Oslo School of Architecture and Design and University of East London. He is still active as an architect, though he for the time being is extremely busy as a stage designer.

This autumn he has been responsible for the stage design for The Wish or Loftur the Sorcerer at Sogn og Fjordane Theatre, where he in 2000 signed the Hedda-nominated stage design for Helge Ingstad's The Last Boat, but also Jeppe of the Hill at Ibsen Theatre. In addition he has found the time for the stage design for the world premiere of !Bang Productions' Pippi/A Girl at The Open Theatre (Det Åpne Teater) this week."

Bård Lie Thorbjørnsen for the stage design for The Dance of Death by August Strindberg at Hålogaland Theatre:

"As part of his thesis at The National Academy of Craft and Art Industry, Bård Lie Thorbjørnsen in 2000-2001 was assigned the responsibility for the stage design for three theatre productions: The Glass Menagerie at The National Academy of Theatre, The Belgrade Trilogy at The Norwegian Theatre and Mother Courage at Trøndelag Theatre. In particular the latter was noticed, and thanks to that he was actually nominated for The Hedda Award before he was - completely - finished with his education.

Last year he signed the stage design for two very successful projects - Undset, a project in collaboration between The Norwegian Touring Theatre and The National Theatre, and The Dance of Death at Hålogaland Theatre, for which he is nominated. This autumn he has made the stage design for yet another great success: Bikubesong* (Song of the Beehives) at The Norwegian Theatre."

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

Laila Goody, for the role of Cathrine in Proof by David Auburn, directed by Kjetil Bang-Hansen, at Trøndelag Theatre:

"Laila Goody graduated from The National Academy of Theatre in 1994, and has been an employee of The National Theatre since then. She has also been a member of the theatre's Torshov company. Ever since her debut she has made herself positively remarked in a number of roles, and her range is wide: This spring she visited Trøndelag Theatre, and this autumn she interprets the 'double person' of Shen Te/Shui Ta in The Good Person of Szechwan by Bertolt Brecht.

She has taken part in a number of movies, most recently in the success Johnny Vang, and she is known from Norwegian Broadcasting Corporation's radio drama division. She has won a number of awards; Gösta Ekman's memorial award in 1997, The Narvesen Culture Prize in 1998, The Per Aabel Honorary Award (Per Aabels Ærespris) in 2001 and the radio theatre award Blå Fugl (literally: Blue Bird) in 2002. She was also nominated for The Hedda Award in the particularly excellent performance category last year, at the time for her interpretation of Eleonora in Strindberg's Easter."

Anne Marit Jacobsen, for the role of Lady Bracknell in The Importance of Being Earnest by Oscar Wilde, directed by Kjetil Bang-Hansen, at The National Theatre, the main stage:

"Anne Marit Jacobsen has been connected to The National Theatre from 1969, and has acted in classics and contemporary drama, comedy and tragedy. Her range is wide, and the audience has loved her worn-out housewife in the monologue Shirley Valentine, which has often saved The National Theatre when the audience has let other productions down.

Nor has she stuck to honourable The National Theatre. She has taken part in crazy farces at Chateau Neuf, and for the time being she is on a leave from The National Theatre, operating as one of the fundamental forces in the revue På nett med byen* (In tune with town). As it is, she is a great revue artist, and not least her imitations of Gro (Harlem Brundtland, Sceneweb's comment) are unparalleled. It doesn't stop there: This autumn the versatile lady also makes her debut as a writer! In 1997 she received The Per Aabel Honorary Award (Per Aabels Ærespris), and this spring she shared the award of Aase Bye with Kim Haugen - precisely for the participation in The Importance of Being Earnest."

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

Dennis Storhøi, for the role of George in Who's Afraid of Virginia Woolf?, by Edward Albee, directed by Svein Sturla Hungnes, Oslo Nye Teater (Oslo New Theatre):

"Dennis Storhøi graduated from The National Academy of Theatre in 1985, and after working for The National Stage, Rogaland Theatre and ABC-teatret he came to Oslo Nye Teater (Oslo New Theatre) in 1991. At the theatre he has played the title role of Pal Joey, and taken part in a number of the theatre's productions, including Hamlet, Elling and Kjell Bjarne and Arne Berggren's 40.

After taking critics and audiences by storm with his interpretation of George in Who's Afraid of Virginia Woolf? he was a luscious, humorous Doolittle in My Fair Lady this spring, whereas he this autumn is the elegant Englishman of the 1930es in Noel Coward's Private Lives. He has also taken part in several movies and in TV entertainment, as well as series such as Western Wind. This autumn he got The Norwegian Critics' Award for the role of George in Who's Afraid of Virginia Woolf?."

The Full Monty by Terrence McNally/David Yazbek, The National Stage:

Directed and choreographed by: Runar Borge
Stage design: Bengt Fröderberg
Translator, instructor and choreographer: Runar Borge

Costume designer: William

Musical direction: Jan Kåre Hystad

Masks: Mette Noodt

Sound designer: Bjarte Våge

Lighting designer: Sverre Randin

With Monica Hjelle, Espen Hana. Dagfinn Lyngbø, Bjarte Ylvisaker/Preben Nyløkken, Marianne Nielsen, Aril Martinsen, Tonja S. Sanborn, Jon Bleiklie Devik, Tore Chr. Sævold, Kim Fairchild, Richard K. Sseruwagi, Kim Kalsås, Espen Grjotheim, Yvonne Algrøy, Oddrun Valestrand, Cathrine Bang, Lars Jacobsen, Kai Taule

"The Full Monty has all you can wish for in a showy, quick, rhythmic, colour-sparkling and funny musical."

Sidsel Hamre Dagsland, Bergens Tidende

Who's Afraid of Virginia Woolf? by Edward Albee, Oslo Nye Teater (Oslo New Theatre):

Translated by: Svein Sturla Hungnes

With Anne Krigsvoll, Dennis Storhøi, Trine Wiggen, Nicolai Cleve Broch

Directed by: Svein Sturla Hungnes

Stage design: Birgitte Lie

Costumes: Trude Bergh

Lighting: Øyvind Wangensteen             

Masks: Jill Tonje Holter

The Dance of Death by August Strindberg, Hålogaland Theatre:

Translated into Northern Norwegian by: Ragnar Olsen

With: Guri Johnson, Håkon Ramstad and Bjørn Sundquist
Directed by: Tyra Tønnessen
Stage design: Bård Thorbjørnsen
Costume: Ane Aasheim
Sound design: Jon Paulsen
Sound: Tor Vadseth

"Bjørn Sundquist and Guri Johnson manage to create an uncomfortable credibility and a nerve pinning you - sweating - to the chair."

Lasse Jangås, Nordlys.