The term “multi-talented” takes on a new dimension in the case of Jo Nesbø, a remarkable Norwegian artist whose career moves to date include stockbroker, professional footballer, novelist, pop artist and – most recently – writer and composer of a musical.

Born in 1960, Jo Nesbø’s latest work, 90-Meters Bakken, an allegorical piece about the tribulations of moving to and growing up in the small town of Molde, Norway, has sold out in its initial theatre run, and is about to tour the country with a substantial live sound and lighting production.

Norway enjoys one of the world’s highest standards of living – and consequently one of the world’s highest concentrations of professional entertainment technology. This has helped provide Nesbø an enviable touring production for his new work with a Renkus-Heinz PN102LA self-powered line array PA, Martin Audio monitors, TC Electronics, Lexicon and Ashly processing, XTA control and an Allen & Heath console for his sound, and a lighting rig headed by a Grand MA console, AVAB dimmers and Selecon, Thomas, Martin Professional and VARI*LITE luminaires.

Nesbø’s CV suggests there are few talents he does not already master. After successful seasons as centre-forward for one of Norway’s premier soccer teams, he studied economics in Bergen while forming a garage band named ‘Di Derre’ – a slang expression best translated as ‘Them There’ – as a songwriting vehicle. His sharp yet whimsical lyrics and quaint musical style captivated Norwegian audiences and Di Derre quickly became one of Norway’s biggest selling bands.

Building on his pop celebrity, Nesbø then published his first crime novel, Flaggermusmannen (Batman), which took audiences and critics by storm and has since penned seven novels, selling more than half a million copies in Norway alone.

The stage beckoned next and, around a year ago, he penned a tribute to his home town – a quasi-biographical coming-of-age tale – based around the ambitions, dreams and love of the members of fictional garage band Johnny Moonface & The Atlantic Ocean, featuring the songs of Di Derre. The result is a charming stage musical entitled 90-Meters Bakken, the title being a Norwegian double-entendre pun on ski-jumping into complete darkness and a slang term for the 1990s.

After writing the rough draft, Nesbø handed the reins to veteran director Kjetil Bang-Hansen and musical director Ingrid Bjørnov, who crafted an engaging piece of musical theater that after twelve sold-out performances in the Bjørnsonhuset, a 1,000-seat capacity theater venue in Nesbø’s home town of Molde, will go on to tour Norway.

For Teatret Vårt, a small theatre company established in 1972, taking on a production of this magnitude was a significant challenge – echoing the pun of the work’s title, it was a leap in the dark. Says production manager Halvard Fiksdal: “Jo Nesbø is a popular artist and writer, and the fact that the performances started selling out months before we even got into pre-production was both a blessing and a curse. We knew we had the funds to put on the production, but we also knew we damned well had to get it right.” As the largest production in the company’s history, Fiksdal was pleased they had enough funds to book the facility for a whole week for rehearsals. “This is really unheard of. Usually budgets are so tight, we have a day or two for rehearsals in the actual venue. Having a week seems almost excessive, but we needed it”.

Based on a set designed by one of Norway’s foremost set designers, John-Kristian Alsaker, Fiksdal pulled together a production crew of theater staff and external experts. The audio aspect of the production was handed to local production company Molde Forum AS, the rental specialists whose credits include the renowned Molde International Jazz Festival, headlined this year in July by Stevie Wonder.

From an audio perspective the Bjørnsonhuset is a challenging venue, long and narrow in shape and with steeply raked amphitheater-style seating. The rear row is 10 meters high and 40 meters from the stage. “It was clear that our PA choices were either a delayed system or making our new Renkus-Heinz PN102LA line array work in there,” says Molde Forum managing director Jo-Tore Bæverfjord. “Line arrays tend to work best in flat–floored, rectangular spaces, and we were concerned about how it would handle the steeply inclined audience area.”

Experienced audio engineer Torkild Madsen, with an extensive theater background, approached the task with an open mind. “This is not a typical application for a line array, but given the length of the room it was clear that if we could make it work, we could do away with the delays for the back of the room, achieve smoother coverage and better stage localization,” he explains.

Using Renkus-Heinz’s line array prediction software, AIMWARE, Torkild specified two eight-cabinet tall PN102LA arrays, flown low on either side of the stage, aimed up towards the back of the room using the flying hardware’s up-tilt mode. “I aimed it so the array’s beam went parallel with the incline of the seating, which worked very well. Apart from a slightly ‘hotter’ area just around the mix position, the coverage was remarkably smooth all the way to the back.” Two Renkus-Heinz PN81/9’s serve as front fills and four DR18-2 dual eighteen subs provide the low end.

The house console is an Allen & Heath ML4000, and the effect rack holds a TC 2290 and Reverb 4000, a Yamaha Rev 5, a Lexicon PCM80, and an Ashly 31 band graphic EQ. Audix, Neuman, & Sennheiser mics are used for the band, while 12 Sennheiser SK50/EM3032 wireless systems with DPA 4066 microphones are used for the actors. Martin F12 floor monitors provide monitoring for the band.

Madsen chose an XTA DP224 for the system controller. “Mostly it’s there for some minor system EQ for the sub crossover,” he comments, “and to set the appropriate delays. The PN102LA system requires very little EQ, and I’m impressed by its clarity and musicality.” Madsen continues: “For me, it’s critical that every nuance in the performance finds its way to every seat in the house. I want the audience to forget there is a PA between them and the performers.” The entire rig also had to be designed as an efficient, one-truck touring package.

Lighting came mostly from Teatret Vårt’s own inventory, and the rest was supplied by Oslo-based company AVAB CAC. Lighting designer Finn Landsperg focused on coming up with a simple, yet effective design. “Like with most productions, my job is to help set the right moods throughout the performance. The interesting challenge here is the rapid stage shifts from nightclub, to garage, to stadium, and then back home to a teenager’s crib. It took quite a lot of programming time.” In addition to the MA Lighting Grand MA console, the compact but sophisticated rig included AVAB and ADB dimmers, Selecon Acclaim and Arena fixtures, CCT Minuette Condensers, ADB Floods, Thomas PAR cans and Robert Juliat spots, with an automated lineup of VARI*LITE VL1000s and Martin MAC250+ and MAC300 luminaires.

Come the big opening night, and in the presence of both the Prime Minister and Cultural Minister of Norway, local dignitaries, and, of course, Jo Nesbø, the crew of Teatret Vårt proved that they were worthy the task of putting on a show of this magnitude. The performance was greeted with accolades from both the audience and the press, and continues to draw a full house. Teatret Vårt’s director, Carl Morten Amundsen sums it up: “It was a leap of faith, and one heck of a ride. But, with the combined efforts of an excellent ensemble of actors, musicians, and technical staff, we’ve managed to come in for a perfect landing."