After a few weeks rehearsals at Beaivvas Sami National Theatre in Kautokeino, we performed two shows for full houses at the Thon Hotel during the world’s first Sami theatre festival. It was something quite extraordinary to perform this play for a Sami audience, that really knows its history. We have worked hard to get to know the subject, but we are of course beginners when it comes to this dark side of Norwegian history. Luckily we have Egil with us, who through the rehearsal period would let us know if we were really in the wilderness. The response to the two performances in Kautokeino was purely overwhelming. We are so happy that we were so well-received by the Sami audience, and we have really been made aware of how important it is to tell this story.
Rogaland Teater is in many ways our second home and we have gained a faithful audience in Stavanger. We had a fantastic experience in our meeting with them, and the critics seemed pleased as well; six out of six in Altaposten and five in Verdens Gang, Rogalands Avis and Stavanger Aftenblad. Critic Borghild Maaland in VG throws a five on the dice and writes: “This hardly honourably period in Norwegian history is told with juice, power and buckets of sharp irony by the independent group Statsteatret.“
“Pitch dark and hysterically funny”
According to critic Leif Tore Lindø in Stavanger Aftenblad this is “rascals playing rascal theatre. A dark side of the Nowegian history is told with lots of cowboy rock’n’roll, which makes it deeply serious, almost disturbing, and pitch dark and hysterically funny at the same time.“ Stein Roger Fossmo in Rogalands Avis writes: “The grip of associating the Norwegian state’s brutal treatment of the Sami people with The New America’s genocide of the Native Americans is in it self anything but toothless. Besides: Director Yngve Sundvor and Statsteatret is picking at the bad concience Norwegians have, with good reason, towards their own indigenous people. It is a fair reminder, 200 years after the men at Eidsvoll created the Constitution.” Johan Mathis Gaup in Altaposten writes: “even if the subject is serious, this can rightly be called «feelgood theatre», and the tears seen on some audience members is after a great burst of laughter.”
After this wonderful feedback we are really looking forward to travel around the country with this production.