Death of a Salesman

The jury gave the following reason for The Hedda Award for Ingar Helge Gimle:

"This year's award goes to an actor with a long record from Norwegian theatre, film and TV. To him it is as natural to perform for adults and children, in classics and contemporary drama, in tragedies and comedies. In this year's role the award winner provided in a particular and present way an intense insight into a man's world, not least his dream world. In an impressive, near disturbing way he proved how his character reacted in an extreme life situation, in relation to himself and the people closest to him. Through intense and quiet acting the award winner awoke the compassion of his audience, when he in an extraordinarily convincing and strong way presented the heavy destiny of his character. This year's best leading actor award goes to Ingar Helge Gimle."

The jury gave the following reason for The Hedda Award for Espen Klouman Høiner:

"The category of best supporting actor is wide. It may go to an actor who lights up a production through a small role. But there may also be a finely tuned divide between a leading role and a supporting role. The winner of the year has lightened up in small roles and played a fundamental role in a drama. He is artistic, and musical, in several meanings of the word. He doesn't give 'too' much, but exactly enough to create space for associations around a character. The award winner must be a gift to work with, for directors and actor colleagues, proven through Boer Boerson and Death of a Salesman both. This year's best supporting actor award goes to Espen Klouman Høiner."

At the webpage of Trøndelag Theatre the following is written about Death of a Salesman:

"Who are you if you lose your job? The economic aspects are obvious, but the human aspects may not be. Willy Loman, salesman, is among those who dream of greatness for himself and his family. To be a well-loved salesman, perhaps even a shopkeeper, once. But what is left when the dream bursts?

Willy Loman has worked for the same firm all of his life. He has given them everything, and he is well-liked. And being well-liked is the most important, Willy finds. But the times have changed, the buildings grow up around the house they bought in the suburbs, and people are not as friendly as they used to be. Or is Willy the one who has changed? Nothing has come of his two sons. How could that happen? They were so well-liked.

In his daydreams Willy often visits the past, the time when the boys were small and his brother Ben came visiting. If he had listened to Ben everything could have been different. He could have been a rich man, living far beyond town. But Willy may not see the truth. In a chaos of present, past and future visions Willy's dream is broken. And even worse; may it be that the dream of being a well-liked businessman was not the right one for Willy, or for his sons? Has he dreamed the wrong dream?

Death of a Salesman is counted among the most important works of American post-war literature, and it is said that none is as Ibsenian as Miller. Miller uses the retrospective technique, showing how the choices of the past directly influence the present.

In the demanding role of Willy Loman, Ingar Helge Gimle is back at Trøndelag Theatre."

Sources:

Trøndelag Theatre, trondelagteater.no, 21.05.2013, http://www.trondelag-teater.no/forestillinger/2013-enhandelsreisendesdod/

The National Library of Norway, performance program digitised by The National Library of Norway, transferred to Sceneweb 13.08.2015

The Hedda Award, heddaprisen.no, 10.06.2013, http://www.heddaprisen.no/pub/heddaprisen/main/?aid=1176

Trøndelag Theatre's repertoire database, donated by Trøndelag Theatre, 20.06.2014

Lars Erik Skjærseth, date unknown, Norwegian Broadcasting Corporation:
"The play is well-composed and is a near two-hour long experience without a dead zone."

Ole Jacob Hoel, date unknown, Adresseavisen [Trondheim]:
"The stage design alone is worth the ticket price in this at times very strong production of a modern theatre classic. [...] Ingar Helge Gimle does well in the very demanding role. [...] The music by Aslak Dørum is another, very clear effect, intensely suggestive."

Inger Merete Hobbelstad, date unknown, Dagbladet [Oslo]:
"Ingar Helge Gimle has become something of an expert in playing rough men with a soft core [...] When the begging Willy is fired, Gimle proves that he can play broken like nobody else. [...] It is a striking stage image, literally revealing what exists behind the facade."

Guri Hjulstad, date unknown, Trønder-Avisa:
"The dream bursts, but the production is stable, as a rock-hard warning against letting money rule life."

Fride Nonstad, date unknown, Radio Revolt:
"Director Runar Hodne's production of Death of a Salesman is a good piece of theatre, with good role interpretations and a thoroughly grand stage design. [...] I would absolutely recommend you to see the play whether you are a student who is slightly fed up with the nagging from your parents, or a parent who doesn't know what to do to get your kid move forward in this world."