Review: DET BRENNER EN ILD at Gamle Fredrikstad, Artilleriplassen

DET BRENNER EN ILD is a musical that brings the life of Hans Nielsen Hauge, the Norwegian lay preacher and reformer, to the stage. Set in a stunning natural environment that complements the historical narrative, the production delivers a blend of strong performances and uneven execution of the source material. With moments that soar and others that falter. This is by no means an easy story to condense to a theatrical piece, so I am still impressed with the total experience. The outdoor venue is undoubtedly one of the musical’s greatest strengths. The natural surroundings—a mix of open skies and lush greenery—create an atmosphere that feels authentic and immersive, transporting the audience back to Hauge’s time. The Production Team wisely integrates the environment into the staging, making the most of the open space and natural light to enhance the storytelling. As the sun set, the set (and trees) came to life in beautiful lighting.

The cast is led by three standout performances that truly anchor the production. Hans Marius Hoff Mittet, in the role of Hans Nielsen Hauge, delivers a powerful and deeply committed performance. Mittet aims to embody Hauge’s fervor, resilience, and quiet intensity, bringing a strong emotional core to the musical. His portrayal is both nuanced and compelling, making Hauge’s journey feel more profound. Sanne Kvitnes, playing the personification of Hauge’s conscience, adds an intriguing layer to the narrative. Her performance is ethereal and haunting, with a voice that resonates long after she leaves the stage. Kvitnes’s presence brings depth to the production, serving as a constant reminder of Hauge’s inner conflicts and moral struggles. Whether she is an angel or a devil on his shoulder depends on the scene in question, but I loved the small detail of the white feather pen that switches color between white and red during the performance. Nice touch to details are always welcomed. Alexander Hermansen, as the priest who opposes Hauge, delivers a nuanced portrayal of a complex antagonist. Hermansen’s performance is rich with subtlety, avoiding the trap of playing the priest as a mere villain. Instead, he brings out the character’s own convictions and doubts, making the dynamic between Hauge and the priest one of the most compelling aspects of the show. His voice is wonderfully strong and precise, and his diction is strongly welcomed.

This is a huge ensemble, with 16 professional performers, and 18 non-professionals.
There are numerous parts, and while they often don't get to be fleshed out due to the enormous amount of scenes and situations crammed into the show, a good deal of moments lingered with me. Such as  Ingrid Heckmann Hagen as his lost love, Marta. She appears as visions from his past, and sings beautifully. Pål André Hasselvold as the chaplain (The official) also manages to come across as a very sympathetic character in the midst of strong willed, high ranking officials. Likewise Aina B. Gundersen (Hauges sister Karen) and Anniken Bakken Lundberg (as Sara, who becomes a devotee of Hauge) give very strong and compassionate portrayals, but I would have liked to get to know the characters better. One stand out performance was the prisoner who shares a scene and wonderful song with Hauge at the end of act one. The prisoner sings "Mercy is given when you start to give" which is a very good line, performed pleasingly by Jonathan Tufvesson Larsson

The musical score, at its best, is truly evocative, featuring mildly complex arrangements that greatly enhance the emotional impact of the story. These high points showcase the production's potential, delivering a powerful and moving experience. However, the score is a mixed experience overall. At times, it veers into the territory of children’s theater, with simple, overly repetitive melodies that fail to capture the depth of the subject matter. These moments can feel out of place, especially when contrasted with the more intricate compositions, and are interspersed with basic, expository ensemble numbers that detract from the overall musical experience. There were parts where the scenes had suited better with dialogue and vice versa.

Hans-P. Thøgersen's libretto shines in its nuanced and thoughtful dialogue and lyrics, particularly during the more intimate scenes and solo numbers. These moments effectively capture the emotional depth of the characters and enhance the overall narrative. However, the libretto, much like the music, suffers from inconsistency. At times, it becomes too expository, especially in the larger ensemble pieces. These moments can feel didactic, as if the production is more concerned with conveying historical facts than with engaging the audience on a deeper emotional level. This contrast between the nuanced and the overly simplistic creates an inconsistency that prevents the narrative from fully resonating.

Directors Ole-Hermann Gudim Lundberg and Martine Tufvesson Lundberg (Also choreographer) have done a very good job in aiming to keep the narrative going forward, and keeping the focus where it needs to be. I especially liked the way they have incorporated the classes of the time in having two levels, where the action plays out. The set design and costumes works well, and the lighting design is great. The choreography is more about movement than traditional dance, and in this context, it works well. The movements are carefully choreographed to enhance the storytelling, using the physical space effectively to convey the characters’ emotions and the passage of time. While there are no elaborate dance numbers, the choreography is nonetheless effective, adding a subtle layer of meaning without overshadowing the performances.
The nightmare- sequence during Hauge's incarceration in act two is where everything blended perfectly for me, and that scene was magical from start to finish.

DET BRENNER EN ILD has moments of true greatness, particularly in its lead performances and its more intricate musical passages. Hans Marius Hoff Mittet, Sanne Kvitnes, and Alexander Hermansen deliver standout performances that bring depth and nuance to their characters, elevating the production beyond its growing pains. However, the inconsistency in the score prevents the musical from reaching its full potential. The outdoor setting and the strong performances make it a very engaging experience, with parts of excellence.

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