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ENTERTAINMENT

Irish theatre group’s new show tries to make Stockholmers smile

A budding Stockholm-based amateur theatre group with Irish roots is set to provide English-speaking theatre-goers with a tongue-in-cheek look at the perils of suspected infidelity, contributor Anita Badejo explains.

Irish theatre group's new show tries to make Stockholmers smile

The Spuds & Sill Amateur Drama Society of Stockholm is gearing up to perform the Irish farce “Don’t Tell the Wife!” by playwright Sam Cree at the Stockholm International School.

Spuds & Sill, which is part of the Swedish Irish Society in Stockholm, is a drama group that brings the “strong tradition” of amateur theatre–that is, theatre put on by actors and crew with little to no dramatic experience–from Ireland to Sweden, Founder Maura Heverin tells The Local.

Founded in the winter of 2009, the group started out rehearsing 2-3 days a week in the cellar of a Gamla Stan pub in January 2010, and put on its first production last May.

“Most [of the] people, they’ve never been on a stage before and they have little experience…but they have a lot of enthusiasm. And that’s what you need,” Haverin says.

In addition, although the group focuses on presenting productions with an “Irish theme or connection,” Spuds & Sill is an international society, featuring members not only from Ireland, but also from Sweden, France, Finland, and the United States, Haverin explains.

The group’s upcoming production, “Don’t Tell the Wife!” is a “farcical comedy” by well-known Irish playwright Sam Cree, says Director Alibhe Keating.

Set in 1960s Belfast, the play centers on a longtime married couple whose relationship is tested when a hilarious misunderstanding causes the wife to suspect her husband of cheating.

“It’s very much tongue-in-cheek humour,” Keating says.

Also, though the play has an Irish setting and certain Irish elements, both Haverin and Keating note that Spuds & Sill chose to perform it because of its universal content.

“You don’t have to be familiar with Irish culture, Irish history to understand the play,” Haverin says.

In addition, “It’s a subject matter that translates internationally–the same issues, same problems, same things happening all over the world,” Keating explains.

According to Keating, the group hopes the play will appeal to an audience of English-speakers and expatriates in Sweden, as well as Swedes who are looking to “have an enjoyable evening of entertainment through English.”

“It’s very light-hearted. So we just hope that people come along and have a laugh and enjoy themselves,” she says.

“Don’t Tell the Wife!” will be performed at the Stockholm International School on the weekend of March 11-12. Doors open at 6 PM, performances begin at 7 PM. Tickets are 100kr and can be reserved on the Spuds & Sill website. They must be paid for in cash on the night of attendance. In addition, Spuds & Sill welcomes new members.

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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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