Digital Programme: Castle of Joy (Det Ferösche Compagnie)
Find out more about the production and the creative team behind it in our digital programme.
Welcome
Welcome to the Barbican and thank you for joining us for our new season. To mark the start of a new year, we look back and also celebrate new beginnings.
Thank you for joining us in The Pit to welcome Det Ferösche Compagnie, a collaborative theatre collective from the remote Faroe Islands in the Atlantic Ocean. These artists make important, brave work in dialogue with the myths, legends and history of their people. With a small population to perform to at home, we are pleased to introduce their Faroese language and stories to a UK audience for the first time. Their latest production, Castle of Joy, is inspired by true events which resonate far beyond the village of Miðvágur where they started. The challenging conditions faced by one person trying to build a world of their own becomes a universal metaphor about independence, self-expression and acceptance. We hope you enjoy the show.
Toni Racklin, Barbican Head of Theatre & Dance
The Barbican has inadvertently shaped Det Ferösche Compagnie as an artistic group: almost all members have studied in London and consequently often visited. Hailing from a small and isolated country like the Faroe Islands – where only 4-5 plays are performed annually and which lacks proper theatres, concert halls and cinemas but is abundant in free churches and sects – London and the Barbican represented an oasis in the desert for those of us who were thirsting for artistic knowledge and fulfilment.
Búi Dam, for Det Ferösche Compagnie
Four of the Company’s members share their most memorable experiences at the Barbican:
Kristina Sørensen Ougaard: While studying in London, I spent many evenings at the Barbican Theatre. A particular eye-opener for me was the production The Elephant Vanishes by Complicité. The theatre language and transformation of props were truly inspiring and something I had never seen before. Giselle by Fabulous Beast Dance Theatre also completely blew me away. I actually called the Barbican to get hold of the Company. A few years later, our paths did cross. To me, my theatrical experiences at the Barbican have had a big impact on my formative years as a student in London.
Jens L. Thomsen: In 2012, I had the incredible opportunity to witness Einstein on the Beach by Philip Glass and Robert Wilson at the Barbican. It was not only the best experience I've had at the Barbican, but it also stands out as one of the most remarkable music experiences I've encountered. This performance had a profound impact on me, fundamentally altering my perspective on music and performing art. Even to this day, my work continues to be informed by that unforgettable evening.
Búi Dam: I've had numerous experiences at the Barbican, but two in particular stand out as truly life-changing. Romeo Castellucci's production of Dante's Inferno shook me to my core and communicated with me in ways I had never before experienced. My introduction to Complicité was through their performance of Shunkin. As a child, my parents owned a videotape of Peter Brook's Mahabharata, which I watched repeatedly. Shunkin transported me back to that enchanting initial encounter with theatre as an art of suggestion.
Sámal Blak: The Barbican has been an important venue for shaping my understanding of what theatre can be. I have seen non-verbal visual theatre at the annual Mime festival as well as experiencing some of the great theatre makers here, such as Romeo Castellucci, Improbable Theatre, Complicité and Robert Lepage.
Details
Contains smoke effects, loud sounds, offensive language and disturbing descriptions of bullying and abuse.
Company
Performers
Actor Kristina Sørensen Ougaard
Shadow Actor Búi Dam
Musician Dánjal á Neystabø
Creative Team
Writer and Director Búi Dam
Set and Costume Designer Sámal Blak
Composer Dánjal á Neystabø
Lighting Designer Súni Joensen
Movement Director Búi Rouch
Set and Costume Design Assistant Anna Kristin Bæk
Sound Engineer Jens L. Thomsen
Technician Beinir Bergsson
Research Advisor Bergtóra Patursson
Producer Urd Johannesen
Producer and Tour Manager Durita Sumberg
Related events
Post-show talk
Thu 29 Feb, The Pit
An in-conversation event with Director, Writer and Shadow Actor Búi Dam and members of the company, including Sámal Blak, Kristina Sörensen Ougaard, Dánjal á Neystabö, hosted by Bridget Escolme (Professor of Theatre and Performance at Queen Mary, University of London). Free to same-day ticket holders.
A world of tangled jumble
In this short interview, Búi Dam, writer and director of Castle of Joy, describes staging the story of an outsider's struggle to build his own world of tangled jumble in a world of straight lines
Who was Pól Jóhannus Poulsen?
Pól Jóhannus Poulsen, also called Joy, was born in 1925, the youngest of 13 siblings, in a small village called Miðvágur in the Faroe Islands. He was different and was treated as the village fool. However, this did not stop him from pursuing his dream, which was to build a world of his own – a world of tangled jumble. At an early age, he began collecting discarded building materials, gathering a jumble of weathered plywood sheets, rusty roof tiles, bent nails and rusty screws. He took it all to the mountain fields where he began his ambitious project. But then disaster struck. In 1939, after a violent incident with a classmate who bullied him, Joy was sent to Denmark to be incarcerated in an institution for people with mental health conditions. He was locked up for six years, a prisoner of a rigid ‘straight lines’ culture and a victim of severe institutionalised violence. When he finally returned home in 1945, broken and traumatised (as was the rest of the world after the Second World War), he began to build his own world, his Castle of Joy.
Why did you want to tell his story?
His life story resonated deeply with us, both as artists and as Faroe Islanders. Despite being suppressed by Danish rule (the Faroe Islands are a Danish colony) and his own people (he was badly bullied), he still had the courage and audacity to be himself. In a way, in building his own world, he liberated himself. The play has had a profound effect on the Faroese audience, which I believe is because Joy symbolises our nation. We have been under Danish rule for hundreds of years. Historically, we were forced to submit to the Danish language and culture. Today, almost all Faroese people study in Denmark, and most systems in our society are Danish. Despite this, we are our own people, struggling to build a world of our own, to liberate ourselves.
What was the process of making this performance?
Det Ferösche Compagnie is a highly collaborative ensemble. We invest significant time in experimentation and passionate discussions, resulting in a somewhat chaotic yet fruitful environment. For this project, the actress Kristina Sørensen Ougaard and I began by compiling a lot of research through interviews, as there is no written material available about Joy or his Castle of Joy. Given that he lived until relatively recently, numerous people had personal connections with him. I then wrote a script in close collaboration with Kristina. For the set design and overall structure of the play, we drew meaningful inspiration from Austrian visual artist and architect Friedensreich Hundertwasser’s belief that ‘the straight line leads to the downfall of humanity.’ Our set designer, Sámal Blak, approached this concept with the playful spirit of Joy, our main character. He envisioned a playful set anchored by a simple structure with straight lines, representing the rigid society in which Joy lived and where he ultimately built his Castle of Joy with crooked lines. Composer and pianist Dánjal á Neystabö sought to capture the humour and eccentricity of our protagonist through his musical score. His composition mirrors Joy’s inner life, reflecting his passion for creation and his yearning for a world of his own. Kristina Sørensen Ougaard brings everything together with her remarkably versatile portrayal, embodying a total of sixteen characters through her dynamic physicality and emotionally resonant performance.
What ́s next for Det Ferösche Compagnie?
Through these performances at the Barbican, we hope to reach an international audience and establish collaborations for future projects. Castle of Joy marks the first instalment in a trilogy known as The Oddball Trilogy. We hope to present the second part of the trilogy, which explores the theme of slavery in the Faroe Islands, to UK audiences. But first, we must bring Joy out to the world.
Biographies
Kristina Sørensen Ougaard
Actor
Kristina Sørensen Ougaard has a BA (Hons) in Contemporary Dance from The Place and a MA in European Classical Acting at London Drama Centre. Since her training and education, she has pursued a successful career as a choreographer, dancer, actress and theatre maker. She is currently working with various companies, touring globally, and occasionally appears in productions at the Faroese National Theatre.
Búi Dam
Writer, Director and Performer
Búi Dam studied at the Danish National School of Performing Arts, the London School of Dramatic Art and Musicians Union Music School in Iceland (FIH). He has also been under the mentorship of American jazz saxophonist John Purcell and Indian poet and playwright H S Shivaprakash. Awards include the M A Jacobsen award in 2009 and 2022; the Geytin film award in 2020, and Best Actor at the 2021 Winter Film Awards in New York.
Dánjal Dam á Neystabø
Composer and Musician
Dánjal Dam á Neystabø graduated from Malmö Academy of Music in 2006. He has released music both as a solo artist and in collaboration with others. As a musician, songwriter and composer, he has worked on projects in Europe, Asia, Australia and the US, and has received awards and nominations from Danish and Faroese music awards. Dánjal Dam á Neystabøhas also composes for theatre and film, and has received the Faroese film award, Geytin.
Sámal Blak
Set and Costume Designer
Sámal Blak has a degree in Design for Performance from Central Saint Martins. He was one of the individual winners of the Linbury Prize for Stage Design in 2009. Subsequently, he designed Verdi’s Otello for Birmingham Opera Company, directed by Graham Vick, which was nominated for the 2010 RPS Award for Opera and Music Theatre. Sámal Blak’s work was chosen to represent the United Kingdom as part of the ‘Make/Believe: UK Design for Performance 2011-2015′ exhibition at the V&A, previously at the Prague Quadrennial.
Súni Joensen
Lighting Designer
Súni Joensen graduated from the Danish National School of Performing Arts in 2016, and has since worked extensively in lighting design for theatre, television, music and architecture. Work in theatre includes Copenhagen and The Odyssey for The Royal Danish Theatre; Alice in Wonderland, The Word (Best Production at the Reumert Awards), Parasites and Leonora Christina at Aarhus Theatre; Romeo and Juliet and 46+1 at Aalborg Theatre; The Idiot, Dekameron and Anatomy of a Suicide at Le République; The Merry Widow for Den Fynske Opera; and Bosch Dreams for Les 7 Doigts de la Main. Súni Joensen is also a founding member of the Art Collective TOETT (The Other Eye of the Tiger).
Búi Rouch
Movement Director
Búi Rouch trained at the School of the Science of Acting and graduated as a professional dancer from Iwanson International School of Contemporary Dance in 2015. He has since worked extensively in Germany and the Faroes as a choreographer, dancer, actor and director for stage and screen. Productions include Tannhäuser for Bavarian State Opera; Die Reise der Verlorenen for Altonaer Theater; Sodom for Dock 11; For You My Love at Schauburg Theatre; Fear.less at Neues Globe Theater; and For the Blue Sky at the Nordic House. Búi Rouch has been associated with Det Ferösche Compagnie since 2019, and is also an active member of RIVA: The Faroese Dance Company.
Anna Kristin Bæk
Set and Costume Design Assistant
Anna Kristin Bæk graduated as a fashion designer from Columbineskolen, Copenhagen in 2002. She has worked in several theatres in Denmark and the Faroes and made costumes for both stage and screen, most recently on productions by the Faroese National Theatre, for independent theatre companies Det Ferösche Compagnie and Tvazz, and TV production companies Saxofilm and Kykmyndir. She has taught design and sewing, and worked for many years as a seamstress and tailor.
Jens L. Thomsen
Sound Engineer
Jens L. Thomsen has a BA (Hons) degree in Music Technology, graduating from Thames Valley University in 2006, where he also received the 2006 Student Achievement Award. He has composed music for theatre, and for soundtracks for various award-winning short films. His work is credited on over fifty album releases. He won first prize at Liet International 2010 and also at Stockholm Fringe Festival in 2015, and was runner up for the Nordic Council Music Prize in 2009. His project, ORKA, was nominated for the Nordic Council Music Prize 2016.
Beinir Bergsson
Technician
Beinir Bergsson holds a Master’s in German language and literature and lives in Sørvágur, Faroe Islands. Beinir has published two collections of poems – one named Tann lítli drongurin og beinagrindin (2017) which was translated to Icelandic and Greek, and another called Sólgarðurin (2021) which was nominated the Nordic Council Literature Prize in 2022. Sólgarðurin has been translated and published in three different countries. In 2024 the poetry collection will be published in an English translation by the publisher Francis Boutle.
Bergtóra Patursson
Research Advisor
Bergtóra Patursson has a MA in the History of Ideas from Lund University. Her primary research interest is the intersection of ideas about nation and gender, sexuality and race in the Faroese 19th and 20th century history of ideas. She is currently working as a high school philosophy teacher and librarian.
Urd Johannesen
Producer
Urd Johannesen has a Cand. Mag. degree in English and International Studies from Aalborg University, and a MA in Arts Management from City University in London. She has produced work for music, theatre, film and literature, and has also worked as a publisher, translator and writer. She has been employed by the Faroese Cultural Ministry, the Nordic House and has been the literary coordinator of FarLit, promoting Faroese literature abroad. Urd Johannesen is currently the cultural coordinator in the municipality of Runavík. She is also a radio host and poet.
Durita Sumberg
Producer and Tour Manager
Durita Sumberg has a Cand. Mag. in Dramaturgy, Film and Media from Aarhus University. Since 2018, she has produced theatre in Scandinavia and the Faroe Islands. She is a producer for DFC, Yggdrasil Nordic Theatre Network, and the new circus company Acting for Climate, which works to unite performing arts and climate themes. She has also been employed by the Nordic House in the Faroe Islands.
About Det Ferösche Compagnie
DFC (Det Ferösche Compagnie) was established in 2012 and strives to create innovative and experimental theatre, seeking to be both radical and accessible at the same time. Unlimited, imaginative inspiration and creative integrity are two significant aspects motivating the work of DFC, with research and devising being vital parts of the process. The company has a collaborative approach to its work, which means that the creative team of the production is vital to the whole process, from research to the end result. All core members of DFC come from the Faroe Islands, but have studied abroad and worked internationally. International connections, exchanges and collaborations are priorities for the company, in addition to re-inventing, challenging and questioning theatre as an art form.
www.dfc.fo
For the Barbican
Barbican Centre Board
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Tom Sleigh
Deputy Chair
Sir William Russell
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Tobi Ruth Adebekun
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Randall Anderson, Munsur Ali, Stephen Bediako OBE, Farmida Bi CBE, Tijs Broeke, Zulum Elumogo, Wendy Mead OBE, Mark Page, Alpa Raja, Jens Riegelsberger, Jane Roscoe, Irem Yerdelen, Despina Tsatsas, Michael Asante MBE
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John Cater and Kate Doidge
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Farmida Bi CBE
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Claire Spencer
Director of Development
Natasha Harris
Director of People, Inclusion and Culture
Ali Mirza
Head of Finance & Business Administration
Sarah Wall
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Cornell Farrell
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Jackie Boughton
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Jo Daly
Theatre Department
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Toni Racklin
Senior Production Manager
Simon Bourne
Producers
Liz Eddy, Jill Shelley, Fiona Stewart
Assistant Producers
Saxon Mudge, Mali Siloko, Tom Titherington
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Jamie Maisey, Lee Tasker
Technical Managers
Steve Daly, Jane Dickerson, Nik Kennedy, Martin Morgan, Stevie Porter
Stage Managers
Lucinda Hamlin, Charlotte Oliver
Technical Supervisors
James Breedon, Charlie Mann, Jamie Massey, Matt Nelson, Adam Parrott, Lawrence Sills, Chris Wilby
Technicians
Kendell Foster, David Kennard, Burcham Johnson, Bart Kuta, Christian Lyons, Josh Massey, Kieran Poynter, Fred Riding, Fede Spada, Matt Turnbull
PA to Head of Theatre
David Green
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Caroline Hall
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Michaela Harcegová
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Josie Dick
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Lauren Brown
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With thanks to: our tour collaborator, The Nordic House, Faroe Island. And to our sponsors: Faroe Ship, The Ministry of Social Affairs and Culture, Loftbrúgv and Mentanargrunnurin.