Maria Gripe’s timeless novel, ”Pappa Pellerin’s Daughter,” a poignant tale of longing, courage, and abandonment, finds new life on the stage of Orionteatern. Director Sara Giese, though not quite reaching the literary heights of Gripe’s prose, crafts a commendable theatrical experience that captures the essence of this beloved story. The unique architecture of Orionteatern, with its soaring space, provides a dramatic canvas for the unfolding narrative, lending an ethereal quality to the production.
Central to the story is Loella, a young girl left to fend for herself and her two younger twin brothers after her mother goes to sea and her father remains a distant, almost mythical figure. Living in the woods, ostracized by the villagers who derisively call her ”Lopp-Loella” (Flea-Loella), she yearns for connection and belonging. Johan Engberg’s ingenious set design, a dreamscape constructed of slender ribs, transforms fluidly to represent various locations, from the constricted streets of the town to the intimate confines of an orphanage, mirroring the shifting landscapes of Loella’s life.
Giese’s directorial approach emphasizes the contrast between individual and collective, portraying Loella, powerfully embodied by Beri Gerwise, as a solitary figure against a chorus of townspeople. This ensemble, with the exception of Gerwise, deftly portrays multiple characters through seamless transitions facilitated by clever costume and mask changes. Tove Sahlin’s choreography elevates the production, using body language to convey entire scenes with remarkable expressiveness. Memorable moments include Loella’s awe-struck encounter with a department store, where Sahlin ingeniously transforms into both sales clerk and cash register, and a forbidden car ride with a worldly roommate, where the ensemble morphs into a speeding vehicle, a feat of pure theatrical magic.
While the adaptation generally adheres to the novel’s plot, sometimes even verbatim, it streamlines the narrative, sacrificing some of Gripe’s nuanced storytelling. This production focuses on the child’s perspective, presenting Loella as a melancholic Pippi Longstocking figure, her yearning for adult affection palpable. A particularly moving scene depicts Loella clinging to her teacher, captivated by the comforting scent of her hands. This tender pas de deux between the affection-starved Loella and the initially surprised, then sympathetic teacher, encapsulates the story’s core themes of vulnerability and the search for human connection with poignant grace.
Despite the simplification of the narrative, the production retains the emotional heart of Gripe’s work. Loella’s resilience and yearning for connection resonate deeply, while the supporting characters, though less developed than in the novel, contribute to a vibrant and engaging theatrical world. The creative use of staging, choreography, and ensemble work creates a visually stunning and emotionally resonant experience.
In conclusion, Orionteatern’s production of ”Pappa Pellerin’s Daughter,” while not a flawless replication of the novel’s intricate layers, offers a compelling theatrical interpretation of its central themes. The production’s strength lies in its visual poetry, its poignant portrayal of Loella’s yearning, and its celebration of the power of human connection. It effectively captures the essence of Gripe’s beloved story, making it an accessible and moving experience for audiences of all ages. While it may not reach the literary heights of the source material, it succeeds as a standalone piece of theatre, offering a unique perspective on this enduring tale of childhood resilience and the search for belonging.
