ongoland” has been in the media for months now. Television interviews, newspaper articles, letters to the editor. Finally, the film opens nation-wide. One reason this local (Stavanger) film earned so much attention is that it was originally denied state funds for distribution because it “wasn’t good enough” (i.e. didn’t measure up to the committee’s definition of ART). Many critics felt it was too provincial: The film’s website is equipped with a glossary that defines local expressions for the rest of Norway. Many supporters claimed the film had fallen victim to cultural snobbery.

With the ambivalent label of a Successful Grass Roots Film, “Mongoland” finally premiered last night to rave reviews from local celebs and critics. It will be interesting to see if the film measures up to nation-wide expectations. 

As part of Rogaland Theater’s “theater to the people” program this year, Michael Frayn’s one act play “Nei takk, begge deler!” is being performed in the backroom of a popular bar. Torfinn Nag, a popular stage and television actor has directed his colleagues Espen Hana and Signy Sandsberg in this little “morning after” play. A twenty-something mamma’s boy with a dismal past decides to aim for the opposite of his desire in order to find his true desire. Philosophy appropriate for the barroom; wit as well as burlesque—typical Frayn. 

Unfortunately the directing and acting style in this production was too broad for the tight space and what could have been, and should have been, moments of poignancy fall flat. At one point the actress traces the smooth temple of her young lover and then traces her own. The actress is unable to pull off the depth of emotion required for an intimate response, and the gesture is too tender for broad comedy. This and similar moments fall between styles. An attempt by the actress to flirt with a member of the audience also misses the mark in intensity and comes off as lascivious and uncomfortable in such a small space.

The director (or unnamed translator?) also chose to add text to Frayn’s script. For example, the young man sings a Norwegian children’s song to his older lover- something oddly out of character.  As an audience member I felt that the director didn’t trust Frayn’s irony, and in an intellectually self-debasing act pushed the play to ridicule.

The production doesn’t do the play justice, but you’ll leave laughing anyway.

© 2001 Ren Powell ALL RIGHTS RESERVED

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