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Shadow|land / Never|land

The outskirts of your imagination. Dance programme by Michael Keegan-Dolan and Alan Lucien Øyen

The Big Noise 


Seldom has the essence of folk music seemed so significant to me
- Alba

A trailer from The Big Noise
Michael Keegan-Dolan. Photo: Richard Gilligan

In The Big Noise, Irish choreographer Michael Keegan-Dolan creates a response to the Torsåker witch trials, which took place in 1675 in Ångermanland, Sweden. In one single day, 71 people were beheaded and then burned. Most were women, a couple of men and also four children. Their alleged crime was abducting children to Blåkulla, the legendary meadow where the Devil held his earthly court.

The Big Noise has been created exclusively for GöteborgsOperans Danskompani. When starting the rehearsals, January 2015, Michael Keegan-Dolan said:

“The events of 1675 continue to bear meaning for us today. The witch trials appear to be the last great settlement between Paganism and Christianity and a victory of patriarchal society over woman. Her function as high priestess, as wise old women – is declared criminal and punishable by death. However for a shadow to exist there must be a source of light and now more than ever, we are compelled to explore this light and celebrate its infinite nature.”

Howling with both pain and joy they sway powerfully with whirling arms in a rhythmic sweeping dance which sets down its foot and celebrates womanhood.
- Borås Tidning

Michael and his company, Fabulous Beast Dance Theatre, has been called the most provocative and original dance company in the world. His version of Le Sacre du Printemps (The Rite of Spring) gained particular attention, staged in collaboration with English National Opera at The London Coliseum in 2009.

Ale Möller. Photo: Ulf Thornberg

A band consisting of Ale Möller and four Nordic folk musicians will also be appearing live on stage as a part of the performance. The other musicians are: Henrik Cederblom, Sanna Eriksson, Larisa Ljungkrona and Guro Kvifte Nesheim.


Music: Trad, if not otherwise noted
Arr: Ale Möller, if not otherwise noted

Andelig vise, after Ol’ Jansa, Härjedalen. Text: Ale Möller
Den ensamma kvinnan, Music: Ale Möller
Kohorn, Music: Ale Möller
Fader Wise
Dolkaren, Arr: Ale Möller och Guro Nesheim
Brist hjärta, Arr: Sanna Eriksson
Vargdans, Music: Ale Möller. Arr: Henrik Cederblom and Ale Möller
Österängarna, after Per Gudmundson
Huldreslåtten, after Gunnar Stubseid
Sprakfåle, Music: Ale Möller
Liten fågel, after Susanne Rosenberg. Arr: Sanna Eriksson and Ale Möller
Polska, after Timas Hans
Marsch från Jeppo, after Arto Järvele. Arr: Ale Möller and Larisa Ljungkrona

...a wonderful mix of traditional and new folk music
- Göteborgs-Posten
Ale Möller and the musicians rehearse with the dancers
Rehearsals for The Big Noise

We would like to inform you that the first part of The Big Noise contains scenes that some viewers may find disturbing, and that smoke from herbal cigarettes are used in both pieces.

If we shadows have offended

Theatre and dance performance by Alan Lucien Øyen

Trailer for 'If we shadows have offended'

In Norweigian chorographer and director Alan Lucien Øyen's If we shadows have offended, the dancers will impress us also with their acting in a touching story about nostalgia, being lost and what it means to not grow up. In this creation, we find references to the Peter Pan Syndrome, Shakespeare's A Midsummer Night's Dream and more. The dialogue is in English (with Swedish surtitles starting 22 March on selected dates).

Alan Lucien Øyen

Alan Lucien Øyen's work as a director, choreographer and dramatist has met with great acclaim both in Norway and abroad. Last year, he received the Norwegian Hedda Award for his five and a half hours-drama Coelacanth, which he created for the Norwegian national Opera & Ballet where he is choreographer in residence. He runs his own company, Winter Guests, and been awarded numerous international prizes also for his choreographies.

Alan reads a piece he wrote as inspiration for "If we shadows have offended"
My pieces are often about our fear of death. A fear which becomes more intense when your own parents are dead and you're next in line. We also live in a society where many people are afraid to grow up. Neverland has grown out of my wish to explore the Peter-Pan complex: what does it mean to never grow up?
A film clip with some rehearsal footage and the performers talk about their roles
The imagination does not provide answers to the big questions, but can make them infinitely exquisite
- Svenska Dagbladet

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