Kjeld Abell, a prominent figure in the theatrical world, is celebrated for his innovative approach that combines fantasy with a deep exploration of human themes. His plays, often characterized by lively experimentation, visually engaging elements, and profound social commentary, reflect the societal anxieties of his time. Yet, despite the enchantment and energy his works bring to the stage, they have often been critiqued for their loose narratives and lack of definitive conclusions.

Abell's Theatrical Innovation

Abell's background as a stage and graphic artist profoundly influenced his theatrical productions, resulting in visually-oriented dramas that capitalize on the capabilities of the stage. His plays frequently employ clever sets, stage tricks, and symbolic imagery to engage the audience actively. From early works featuring sight gags to later productions incorporating flashbacks and dream sequences, Abell consistently pushed the boundaries of traditional theater. However, this emphasis on theatrical magic sometimes overshadowed the structural integrity and coherence of his plots, leading to critiques of unresolved storylines.

Rebellion and Human Freedom

A recurring theme throughout Abell's works is rebellion against societal norms and a celebration of human freedom and fellowship. His plays from the 1930s to the 1950s reflect the shifting concerns of Danish and European society during these tumultuous decades. In The Melody That Got Lost, for instance, he critiques the oppressive nature of bourgeois life in the 1930s, offering leftist politics as a potential alternative. Anna Sophie Hedvig, crafted just before World War II, confronts political tyranny and public apathy, while Den blå pekingeser addresses the post-war isolation and fear prevalent in the 1950s.

The Melody That Got Lost

Abell's breakthrough in the 1930s with The Melody That Got Lost marked a pivotal moment in his career. Staged at an experimental theater in Copenhagen, the play captivated Danish audiences with its energetic and inventive approach, running for an impressive 594 performances. Composed of two acts with twenty-one revue-style scenes enriched with songs by Sven Møller Kristensen, the play uses humor and theatrical gimmicks to critique the depersonalization inherent in modern life.

The play's protagonist, Larsen, exemplifies the "white-collar proletariat." His longing for a more vibrant existence, symbolized by a light melody and a sheik's costume, is stifled by societal conformity. The office typists, all named Miss Møller, epitomize this conformity, appearing as indistinguishable automatons. Larsen's journey towards reclaiming his individuality underscores Abell's critique of societal pressures to conform, ultimately advocating for a return to the "melody of life."

Anna Sophie Hedvig

Amidst the growing threats of totalitarianism in Europe, Abell's focus shifted to the individual's response to political oppression. Anna Sophie Hedvig, set in a Copenhagen living room, explores the moral complexities of resistance through the story of a teacher who murders a tyrannical colleague. Although the play's structure is simpler and more naturalistic than his earlier works, Abell still employs innovative dramatic techniques, such as flashbacks, to unravel the narrative.

The play juxtaposes personal and political realms, using newspaper reports of European conflicts and the ominous voice of Hitler to emphasize the global relevance of individual actions. Through Anna Sophie Hedvig's defiance, Abell suggests that resistance is a moral imperative. The play's exploration of political debate and moral responsibility at a family dinner table reflects the broader societal tensions of the 1930s, resonating with audiences amidst the backdrop of civil unrest and the looming threat of war.

Postwar Explorations

In the postwar period, Abell's work diversified into light-hearted theatrical celebrations and profound examinations of human isolation and despair. His lighter plays, such as Miss Plinckby’s kabale and festival tributes to Danish culture, provided audiences with entertainment, while his more serious works...