Yesterday, we returned to Sundsvall’s concert hall Tonhallen for the first time after the premiere of Kristina från Duvemåla last Saturday. After a two-month-long rehearsal period and an intense premiere week, having three days away from Kristina felt much longer than that.
At the same time, coming back to Tonhallen with all our props, costumes and everything else right where we left it all a few days ago left me feeling like I hadn’t been away at all. It is a peculiar world I have walked into. I spoke with a few of my colleagues yesterday and they all described the same or very similar feelings.
I am humble about the fact that while this world is still new to me, for most of my colleagues in this production this is what they do. I, on the other hand, am used to either leaving a project before its realisation – i.e. as a composer or arranger – or after only one, rarely two or three, performances – i.e. as a concert singer or chorister.
This is not to say that I am complaining. In fact, I often feel a little short-changed after only getting to do one performance following a lengthy rehearsal process. From that perspective, this is much more proportionate, but it also requires of us to give every audience the very best experience we can every time. The premiere was special for us, of course. However, since most people will only go see Kristina only once, for them that performance will be their premiere, so to speak. And we are of course performing not for ourselves or each other but for the audience.
We surely have something special here, though. The audience’s response last Saturday was rapturous. Even after eight bows and all of us exiting the stage, we had to go back on again because they just would not stop applauding. The premiere felt good, too. Not perfect (but what is, really?) but good, earnest, impassioned. And the audience agreed – as did the reviewers.
“A formidable success” and “the greatest, boldest, most awesome production ever in Sundsvall” wrote Sundsvalls Tidning. “They really brought out the big guns” and “there is no weak link in this production” wrote Expressen. “Everything is epic but still stripped down and elevated” and “most enjoyable are the large ensemble scenes” wrote Svenska Dagbladet. All three reviewers also heap praise over the leads, from Tuva and Hani playing Kristina and Karl-Oskar, to Kristina (sic) playing Ulrika and Simon playing Robert, as well as the stage and visual design, and Melker Sörensen’s direction and choreography.
Writing for Expressen, Gunilla Brodrej cheekily ended her review thus: “Sorry, Stockholm. No tour is planned.”
All 24 performances are now completely sold out, save for a couple of disabled seats in maybe half of them. Every time, we have some 800 new people to thrill and entertain, to bring to laughter and tears, to inspire reflection and empathy in. Every day is a new day, and every performance its own premiere.