| Title | File type | Publiseringsdato | Download |
|---|---|---|---|
| Forestillingprogram til Oslo Nye Teaters produksjon Leonard Cohen: teaterkonsert (2015) | September 16, 2015 | Download |
Leonard Cohen: Teaterkonsert* (Leonard Cohen: Theatre Concert)
Leonard Cohen: Teaterkonsert* (Leonard Cohen: Theatre Concert) (2015) was a theatre concert production by Oslo Nye Teater (Oslo New Theatre). The theatre concert was based on songs by Leonard Cohen, with Norwegian versions of the lyrics by Håvard Rem.
Rolf Heim directed it.
Niels Søren Hansen was the musical director of the production.
*Not yet translated into the English. The title within parentheses is the Norwegian title's literal meaning.
Information
(Objekt ID 49329)| Object type | Production |
| Premiere | September 16, 2015 |
| Produced by | Oslo Nye Teater (Oslo New Theatre) |
| Audience | Adults |
| Language | Norwegian |
| Keywords | Musical theatre, Song |
| Running period | September 16, 2015 |
| Website | Oslo Nye Teater |
Oslo Nye Teater (Oslo New Theatre) gave the following information, among more, about Leonard Cohen: Teaterkonsert* (Leonard Cohen: Theatre concert):
A series of hand-picked songs from Leonard Cohen's multifaceted production throughout close to 60 years makes up the text in this entirely musical performance, in which three couples at a party makes up the action.
No spoken lines, but a red thread of emotions and relations described through Håvard Rem's solid translations of Cohen's lyrics and Rolf Heim's direction.
SOURCES:
Oslo Nye Teater (Oslo New Theatre), press release 2015
Einar Dahl's private archive, donated by Einar Dahl, 23.12.2015
Import from the Scenekunst.no list of openings 04.08.2015
*Not yet translated into the English. The title within parentheses is the Norwegian title's literal meaning.
| Name | Role |
|---|---|
| Leonard Cohen | – Text (Sangtekster) |
| Håvard Rem | – Translation (sangtekster) |
| Rolf Heim | – Concept/Idea |
| Rolf Heim | – Direction |
| Anette Stokke | – Choreography (Dance me to the end of love) |
| Niels Søren Hansen | – Musical direction |
| Leonard Cohen | – Music |
| Siri Løkholm Ramberg | – Dramaturge |
| Sisse Jørgensen | – Stage design |
| Sisse Jørgensen | – Costume design |
| Karen Pontoppidan Monrad | – Puppetry Design |
| Niels Søren Hansen | – Musical arrangement |
| Tore Gustavsen | – Sound |
| Rolf Christian Egseth | – Lighting design |
| Marit Adeleide Andreassen | – Actor |
| Henriette Faye-Schjøll | – Actor |
| Mariann Aas Hansen | – Actor |
| Espen Beranek Holm | – Actor |
| Mads Henning Skar-Jørgensen | – Actor |
| Petter Vermeli | – Actor |
| Pål Hausken | – Musician (Trommer - alternerte med Elisabeth Møtland Nesset) |
| Håkon Andreas Møller | – Musician (Keyboard) |
| Elisabeth Mørland Nesset | – Musician (Trommer - alternerte med Pål Hausken) |
| Simen Solli Schøien | – Musician (Bass) |
| Geir Zahl | – Musician (Gitar) |
| Ingfrid Vasset | – Mask design |
| Bjarne Stensrud | – Stage manager |
| Lars-Petter Forsberg Lorentzen | – Photo |
| September 16, 2015 19:30 – Hovedscenen (The Main Stage), Oslo Nye Teater (Oslo New Theatre) | Opening night |
"Textually there are common characteristics to the themes: This is about the relationship between the couple, in all its facets. Falling in love, desire, dreams, the community between the pair, promises, broken promises, loyalty, choices, unfaithfulness, betrayal, forgiveness, break-up, reconciliation. In no manner in that chronology, in no manner that can in any way be perceived as a chronology. Rather like a bunch of snapshots compiled in a montage. The more universal than this a theme can barely be. Does that make it banal? Who knows the precise poetry of Cohen's shouldn't think it possible. But the choices of the direction trivialise. Far too often overly obvious humorous effects undermine the words' subtler irony or wisdom. As often contrasts between text, tone and performance spread doubt of what is really the wished-for message. The lyrics' own mini-dramas keep meeting competition from stage effects drawing in entirely different directions. Sometimes this has a meaning: In Paper Thin Hotel, performed with a small table as the hotel wall, the gap between declared emotion and understood emotion becomes a self-comforting, most probable contrast. Other times it just seems foolish, such as in the marked division between Marit Adeleide Andressen's sincerity and Espen Beranek Holm's over-eager hands in Anthem."