Up to a few years ago, the only theater of consequence in Norway, outside of the capital, was at Bergen. In many respects the history of the theater at Bergen is more interesting than that of the theater at Christiania. Established in 1850, while Christiania Theater was still largely Danish, to foster Norwegian dramatic art, it is associated with the greatest names in Norwegian art and letters. The theater owes its origin mainly to Ole Bull; Henrik Ibsen was official playwright from 1851 to 1857, and Bjørnson was director from 1857 to 1859. For a dozen years or more "Den Nationale Scene i Bergen" led a precarious existence and finally closed its doors in 1863. In 1876 the theater was reopened. During the first period only two Shakespearean plays were given—Twelfth Night and As You Like It.
As You Like It in Stille Beyer's version was played twice during the season 1855-56, on September 30 and October 3. The press is silent about the performances, but doubtless we may accept Blanc's statement that the task was too severe for the Bergen theater.[III.25]
Rather more successful were the two performances of Twelfth Night in a stage version adapted from the German of Deinhardstein. The celebrated Laura Svendsen played the double rôle of Sebastian-Viola with conspicuous success.[III.26]
The Merchant of Venice was given for the first time on October 9, 1878, two years after the reopening of the theater. Bergens Tidende[III.27] calls the production "a creditable piece of amateur theatricals," insisting in a review of some length that the young theater cannot measure up to the demands which a play of Shakespeare's makes. Bergensposten is less severe. Though far from faultless, the presentation was creditable, in some details excellent. But, quite apart from its absolute merits, there is great satisfaction in seeing the theater undertake plays that are worth while.[III.28] Both papers agree that the audience was large and enthusiastic.
The next season A Winter's Tale was given in H.P. Holst's translation and adaptation of Dingelstedt's German acting version Ein Wintermärchen. The press greeted it enthusiastically. Bergens Tidende[III.29] says: "A Winter's Tale was performed at our theater yesterday in a manner that won the enthusiastic applause of a large gathering. The principal actors were called before the curtain again and again. It is greatly to the credit of any theater to give a Shakespeare drama, and all the more so when it can do it in a form as artistically perfect as was yesterday's presentation."
Concerning Othello, third in order in the Shakespearean repertoire in Bergen, the reviews of the first performance, November 13, 1881, are conflicting. Bergens Tidende[III.30] is all praise. It has no hesitation in pronouncing Johannesen's Iago a masterpiece. Bergensposten[III.31] calls the performance passable but utterly damns Johannesen—"nothing short of a colossal blunder." Hr. Johannesen is commended to the easily accessible commentaries of Taine and Genée, and to Hamlet's speech to the players. Desdemona and Cassio are dismissed in much the same fashion.
A few days later, November 18, Bergensposten reviewed the performance again and was glad to note a great improvement.
Bergens Addressecontoirs Efterretninger[III.32] agrees with Bergensposten in its estimate of Johannesen. "He gives us only the villain in Iago, not the cunning Ensign who deceives so many." But Desdemona was thoroughly satisfying.
Whatever may have been its initial success, Othello did not last. It was given four times during the season 1881-2, but was then dropped and has never since been taken up.
Three different groups of Hamlet performances have been given in Bergen. In September, 1883, the Ophelia scenes from Act IV were given; the complete play, however, was not given till November 28, 1886. The press,[III.33] for once, was unanimous in declaring the production a success. It is interesting that an untried actor at his debut was entrusted with the rôle. But, to judge from the press comments, Hr. Løchen more than justified the confidence in him. His interpretation of the subtlest character in Shakespeare was thoroughly satisfying.[III.34]