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THEATRE

The Stockholm Players’ multicultural look at love

With a new production by the Stockholm Players set to open this weekend, contributor Carina Chela takes a look at Sweden's oldest English-language theatre group.

The Stockholm Players' multicultural look at love

It’s been more than 40 years since a few ardent devotees of theatre got together in Stockholm to form, what is nowadays, Sweden’s oldest English-language theatre group.

With roots in the Sweden of the 1920s, this amateur dramatic society has played a valuable role in stimulating and supporting interest in the dramatic and artistic possibilities of English language theatre in Sweden.

“The Stockholm Players are vital for Swedish culture since they open up a different door to theatre,” says artistic consultant Nigel Harvey, who has worked with the group since 1987.

Founded through the British Embassy, the group was originally known as the British Amateur Drama Society (BADS), until it changed its name to The Stockholm Players in 1966.

The group’s latest production, “5X2: Where do you go when there’s two of you?”, which opens on Friday, November 19th, is something of a multicultural fusion about the roller coaster of falling in love.

The show traces people’s interactions from their to the rule-setting of moving in together as well as the “weathering effects” of fights about children, jealousy, and infidelity.

According to Harvey, the Stockholm Players’ latest production has been “tough to work with but it has definitely been rewarding”.

Not only does the script draw on texts from leading playwrights such as Dario Fo, David Ives and Michael Frayn, but the show features directors from several different countries.

“Our directors for 5X2 are from Greece, Spain, Poland and Sweden,” explains Harvey.

“It is always interesting to work with directors and projects from different cultural backgrounds.”

The group has come a long way from Somerset Maugham’s “The Constant Wife” – one of its first major productions presented in Stockholm in 1966, and so far it appears as if the appetite for English theatre in Sweden is in no danger of abating.

In the intervening decades, several English language theatre groups, such as the Gothenburg English Speaking Theatre, have been established as well, a testament to the continued demand and interest among theatre goers for plays performed in English.

Even if The Stockholm Players has not yet collaborated with other English language theatre groups from the other Nordic countries, it is a member of the Festival of European Anglophone Theatre Societies (FEATS).

Through FEATS, an annual competition between English language theatrical groups resident in mainland Europe, The Stockholm Players have performed their plays and participated in various projects alongside similar groups from the continent.

In 2005, Harvey and fellow Stockholm Player-collaborator Katharina Trodden were recognised at the festival for their adaptation of Edgar Allan Poe’s “The Fall of the House of Usher”.

The Stockholm Players also run ongoing workshops, cabarets, programmes of informal readings of dramatic works, as well as improvisational “playtimes”.

Harvey emphasises that, while working in the English language in Sweden can sometimes be a challenge, it is by no means an obstacle, adding he hopes the group will continue performing for “another 40 years”.

“5X2: Where do you go when there’s two of you?” premiers at the Vilunda Teater in Upplands Väsby on the November 19th at 7.40pm.

Additional performances are scheduled for November 24th, 25th, 26th, 27th and 28th.

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PARIS

Top Paris theatre reopens as Covid occupy movement ends

French actors, stage technicians and other members of the performing arts ended a more-than-two-month occupation of the famous Odéon theatre in Paris on Sunday, allowing the show to go on after this week's easing of Covid-19 curbs.

Top Paris theatre reopens as Covid occupy movement ends
A picture taken on January 26, 2011 in Paris shows the facade of the Odéon theatre. LOIC VENANCE / AFP

The protesters took down the banners they had slung across the facade of the venue in the Left Bank as they left at dawn, leaving just one inscribed “See you soon”.

“We’re reopening!,” theatre director Stéphane Braunschweig exclaimed on the venue’s website, adding that it was “a relief and a great joy to be able to finally celebrate the reunion of the artists with the public.”

The Odéon, one of France’s six national theatres, was one of around 100 venues that were occupied in recent weeks by people working in arts and entertainment.

The protesters are demanding that the government extend a special Covid relief programme for “intermittents” — performers, musicians, technicians and other people who live from contract to contract in arts and entertainment.

READ ALSO: Protesters occupy French theatres to demand an end to closure of cultural spaces

With theatres shut since October due to the pandemic, the occupations had gone largely unnoticed by the general public until this week when cultural venues were finally cleared to reopen.

The Odéon, which was inaugurated by Marie-Antoinette in 1782, had planned to mark the reopening in style, by staging Tennessee Williams’ masterpiece “The Glass Menagerie”, with cinema star Isabelle Huppert as a former southern belle mourning the comforts of her youth.

But the protests scuppered the first five performances, with management saying the venue was blocked — a claim the protesters denied.

“What we wanted was for it (the performance) to go ahead, along with an occupation allowing us to speak out and hang our banners. We don’t want to stop the show,” Denis Gravouil, head of the performing arts chapter of the militant CGT union, said on Sunday.

Two other major theatres — the Colline theatre in eastern Paris and the National Theatre of Strasbourg — have also been affected by the protests.
 
France has one of the world’s most generous support systems for self-employed people in the arts and media, providing unemployment benefit to those who can prove they have worked at least 507 hours over the past 12 months.

But with venues closed for nearly seven months, and strict capacity limits imposed on those that reopened this week, the “intermittents” complained they could not make up their hours.

The government had already extended a year-long deadline for them to return to work by four months.

The “intermittents” are pushing for a year-long extension instead.

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