by Einar Oern Gunnarsson. Directed by Hilmar Snaer Gudnason. Actors:- Egill Heidar Anton Palsson, Hinrik Hoe Haraldsson, Johanna Vigdis Arnardottir, Laufey Bra Jonsdottir, Maria Palsdottir, Nanna Kristin Magnusdottir, Runar Freyr Gislason and Stefan Karl Stefansson. Set and costumes:- Jorunn Ragnarsdottir. Make-up:- Kristin Thors. Lighting and technique:- Egill Ingibergsson. Music and sound:- Sigurdur Bjola. Lindarbaer, April 29^th.

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Last night the Students' Theatre had the premier staging of a new Icelandic play, "The Crow's Palace" by a new playwright, Einar Oern Gunnarsson, who has hitherto been principally engaged in story-telling. The Director is Hilmar Snaer Gudnason and this is his debut in that capacity, but he is naturally very well used to the stage. The same applies to the maker of the set and costumes, Architect Jorunn Ragnarsdottir, this being her first involvement in the theatre. The actors are students at their final stage in the Students' Theatre. Is this not doomed to fail? Far from it, the play and its framework mark a great victory for all those concerned. This is the staging of one of the most noteworthy shows of the season which is soon coming to a close and those interested in the threatre and Icelandic literature should not miss it.

In the course of the creation of the present piece of art most items go hand in hand. First of all Einar Oern has written a text which is most pleasant to hear. It is lyric, philosophical, funny, tragic, sincere, ambiguous and intrusive. It is characterized by figurative language and tokens, surviving for a long time in the minds of the audience/listener. It is not free from a well-known literary memory, indications and even clichés, but that does not matter, because the processing is so pleasant. Einar Oern has published four novels without becoming a hit author as appears nowadays to be necessary for every author in order to be taken seriously and have his works discussed. His works have, however, got a favourable reception, e.g. his latest novel "The Paradise Bird's Tear", dealing in a daring manner with a mental patient's relationship with his mother. I would, however, not be taken by surprise if Einar Oern were to achieve this coveted "stamp" by means of this theatrical piece and maybe he has found a form which fully suits his purpose as his strength is to be found in the shaping of personalities and dialogue in which he shows a good sense for the particularities which are at the same time verifiable. "The Crows' Palace" adds a new and strong voice to Icelandic playwrights.

Jorunn Ragnarsdottir also makes a strong impression as the designer of set and costumes. The framework she has given to the play appears to be based on the text, because it is above all lyric and picturesque and indicative with its painstakingly painted walls and tasteful colour compositions. The limited space of the Lindarbaer Theatre is utilized in a practical way and the set is both stylish and smart. Jorunn's costumes are pleasant, underlining each character in a clear and direct fashion and she works in a pleasant manner with the clichés in a style similar to that of the author. The music and the illumination are a major contribution to the show, both being to the credit of the composer and conductors.

Hilmar Snaer runs considerable risks as a director, because he chooses to go as far as possible in his interpretation of characters, i.e. he pushes each individual actor to the limits of exaggeration and over-acting - without ever crossing the line. And the student actors deserve nothing but praise for coping with this difficult task. All of them were splendid, showing sincerity, enthusiasm and joy which one would like to experience. The characters are clearly defined by the author and it was admirable to observe how well the actors embraced their parts with concentration never failing. Stefan Karl Stefansson was very convincing as the sincere innocent person Frans who has place for all widths in his thoughts and entire activities; Hinrik Hoe Haraldsson showed the shrewd psychiatrist in a fine and funny manner. He is hopelessly in love with Anna, the painter, who does not respond to his feelings. Maria Palsdottir does Anna's part well and jointly with Stefan Karl shows plenty of nuances. Runar Freyr Gislason and Nanna Kristin Magnusdottir are tragicomical in their interpretation of the failed author and the eccentric literary critic, yet being more comical than tragic and it was particularly pleasant to follow the incomparable physical acts of Nanna Kristin. Johanna Vigdis Arnardottir was solemn and credible as a responsible but fragile woman having left a difficult youth behind her, but her character is possibly the weakest one depicted by the author, i.e. it does not succeed in rising well from the cliché. The interpretation of Laufey Bra Jonsdottir of the blonde with all her hopeless dreams was both sensitive and funny. Egill Heidar Anton Palsson discharged the part of house-owner Konrad brilliantly. His acting was hilarious throughout the performance. As a whole the show was forceful with a good crescendo, although the beginning showed some first-night nervousity.

The name of the play refers to the house in which all the characters live. This is an old house, nearing its end and most of the inhabitants are fairly hapless, but foster big dreams. Each one zig-zags through life in his/her way with individual burdens. The basis of the play is the simple example of the trampling on quality and innocence in human relations. The message is clear and never oppressive as the author's attitude is a suitable mixture of serious humour, warmth and sarcasm. This work, being strangely detached from time and environment and possibly a remarkable paradox, is such that I assert that it be among the better Icelandic plays written during recent years, yet being strangely un-Icelandic in its framework. This is undoubtedly done deliberately, e.g. the names of the characters, but due to this fact I could believe that the work should gain easy access to a larger audience than that which is to be found here.

In the course of last Thursday's interview those concerned with the performance said that they were running a manifold risk by staging all the inexperienced actors involved. That venture has also given manifold returns:- Congratulations!

Soffia Audur Birgisdottir

(Caption:- Maria Palsdottir and Stefan Karl Stefansson. The critic says it is admirable how well all actors embrace their parts).