Nordic Spirit 2010


A FESTIVAL OF NEW NORDIC PLAYS


Our festival of script-in-hand staged readings of new Nordic plays showcasing Iceland, Norway, Sweden, Finland and Denmark in English translation.

Friday, October 8, 2010 at 7PM—Sweden

Fem Gånger Gud (God Times Five)
Jonas Hassen Khemiri
Translated by Frank Perry
Directed by Chad Eric Bergman
Post-show discussion led by Lizette Gradén

God Times Five turns Strindberg’s A Dream Play on end to reveal how a contemporary and multicultural Sweden views itself.

Jonas Hassen Khemiri, is an award-winning Swedish author. He made a celebrated debut in 2003 with his novel, One Eye Red. Khemiri's second novel, Montecore, was published to unanimous rave reviews in 2006.

This reading translation by Frank Perry of Jonas Hassen Khemiri’s play GOD TIMES FIVE was commissioned by the Swedish Theatre Union/Swedish Centre of the ITI, Stockholm.
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Saturday, October 9 2010 at 2PM—Denmark


Rødt og grønt (Red and Green)
Astrid Saalbach
Translated by Michael Evans
Directed by Jessica Hutchinson
Post-show discussion led by Hanne Pico Larsen

Red and Green eerily cuts back and forth in time as the veneer of reality is pealed away to expose the iciness of truth.

Astrid Saalbach was trained as an actress at the Danish National School of Theatre from 1975 to 1978.  Saalbach has received several awards including the Danish dramatist’s honor award and the lifelong grant of the Danish art fund.
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Saturday, October 9, 2010 at 7PM—Finland

Kokkola
Leea Klemola
Translated by Aleksis Meaney
Directed by Kevin Heckman
Post-show discussion led by Susanne Österlund-Pötzsch

Klemola calls her play Kokkola (the name of a town in Finland) an “arctic tragedy.” This absurd but also moving story, populated by colorful characters, has been both a critical and popular success.

Leea Klemola is an award-winning actress, having won Finland's highest acting honor, the Jussi Award, for her leading role in the Finnish movie Neitoperho (1997). In 2005 she was recognized by the Finnish Cultural Foundation, which awarded her an Olavi Veistäjä Grant for her significant contributions to Finnish theatre as a director and playwright.
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Sunday, October 10, 2010 at 2PM—Norway


Verkeleg (Reality)
Gyrid Axe Øvsteng
Translated by Sarah Cameron Sunde
Directed by Robin Witt
Post-show discussion led by Brendan McCall

Reality examines the blurred line between playing a role and being played by the role.  Most of Ms. Øvsteng’s work is politically and/or philosophically oriented. She explores the music and rhythm in language, and what is said in silence.

Gyrid Axe Øvsteng was nominated for the Ibsen Prize in 2008 for Verkeleg.  Her work is accessible to adults, youth, and children.
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Sunday, October 10, 2010 at 7PM—Iceland


ÓHAPP! (MISHAP!)
Bjarni Jónsson
Translated by Hilmar Ramos
Directed by Jonathan Berry
Post-show discussion led by Bergen Anderson

MISHAP! is a powerful reflection of our times, where we look in on a young couple who are renovating a beautiful apartment while simultaneously struggling with difficulties.  The media people reveal a new and unexpected side to themselves, the master chef conjures up a delicious meal from familiar ingredients, and the psychologist dazzles.  In other words—excellent television fodder. Or—is this theatre? True, or false?  And who is accountable?

Jónsson’s latest work, MISHAP!, (Candidate for the Nordic Drama Award 2008) opened at the Icelandic National Theatre in September 2007.  In 2004, Jónsson was awarded the Nordic Prize for Radio Drama for The Wheel Of Sleep, a production done in collaboration with the band Múm.
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Staged Reading 2011


partnering with
The Swedish American Museum,
presented a staged reading of the
contemporary Swedish play



The Frozen on the Square (1982)
De Frusna På Torget (1982)
a comedy by Lucas Svensson

This marked the U.S. premiere and first ever English translation of this play

De Frusna På Torget (1982) examines the lives of four "extras" in Ingmar Bergman's masterpiece "Fanny and Alexander" where they grapple with what it means to exist in the imaginary world of the film, as well as the mundane world of the everyday