A musical performance combining Danish hip hop with Danish 19th century songs. Two persons from each century lands in a dark room that is filled with black thistles and a pianist in the corner. She is from the present and he is from the past. As they meet, each of their music meet and influences each other.

2012 Aalborg Teater. Director, Concept and Design: Kasper Sejersen. Design assistent: Jonas Fly. Pianist/ head of music: Simon Søgaard. Electronic design/sound: Jonas Hvid. Light design: Egil Barclay Hansen. Stage manager: Pia Rose.Actors, Merete Mærkedahl, Carsten Svendsen Photo: Adam Lehn

Glasur reviews

“Delicious and crisp combination of texts.” ★★★★★
“Glaze was a delicious experience. The combination of old romantic songs and hymns mixed with modern Danish rap and hip-hopwas right on and it hit the spot in a way you rarely experience in a theater. The old texts and new rap songs get a new meaning, and you see how they deal with the same themes. All in all, the show was really really good – a little short . I could easily have enjoyed two hours more….”
Sofie Svensson, Kulturkongen

“We don´t write the history – we live it…..” ★★★★★
“Hard-hitting theater concert at Transformaters stage – already before the show begins, quivering a little in the body of excitement – because you never quite know what you get ” tricked” into.
In the theater concert we meet two very different characters – but still sweet music acurs to the tones of LOC, Suspekt, B. S. Ingemann, Thomas Kingo and others.
I was captivated by the story of opposites meeting – and that there actually is hope for everybody – even when you are standing on the edge of the everything and feel powerless. That good will overcome or at least it stretches out a helping hand towards the dark and gloomy.
The actors performances was top notch – and they managed to get beyond the edge of the stage with both amazing tones and hateful glances.
The set design was superb – lots of branches in the floor, that the 2 actor kicked, stomped on, peeled in and rolled in. A great tool that underpins the story. I was also quite excited about the bloody wall …..
I highly recommend everyone to go and see this show – it is thoughtful and also a little scary.”
Laila Nielsen, Kulturkongen

“An unconditional exciting experience in all its strangeness.”
Max Melgaard, Nordjyske

“Aalborg Theatre is at the moment presenting this little pearl of a performance with the inviting title Glaze. It has nothing to do with the trite theme of baking cakes, but about what lies beneath the surface and how it is expressed in the art of singing.
It is music that has the great recurring role. It is the one who puts the spectator into a time machine that connects the present with the artistic eras that have laid the foundation for today’s individualism. From ballads to baroque to romanticism, naturalism and a leap forward to hip-hop.
It puts a magical perspective on the feelings that interprets the human being in it’s time and eternity. Is it the sensitivity, longing, love or anger that is  priority on the agenda?
We are in a dramatic dialectical space where it constantly changes between today’s hip-hop rhythms with rich songs by, among others Niarn, Malk de Koijn and songs from the national treasury of that flourished through the 19th century to create a common platform and strengthening national identity. But it is not only a journey back in time, it is also a probe into the culture borne emotional life.
It is all interpreted in an intense process where Merete Mærkedahl both can move and sing like the little hard rivet in sweat pants and hoodie and then turn into the romantic sensitive girl with Carsten Svendsen, who slips from the sensitive dandy in frock coats and wing collar to the angry young man and then back again with all the mixing and confusion, it implies, but with a less convincing body language as Mærkedahl.
The end remark is in the hands of the Baroque interpreter of the stark contrasts of sadness and joy and everything that lies in between with Thomas Kingo ” Fare, the world farewell.” The two characters from different times. The World and sex meet for a brief kiss in the open door and then goes their separate ways. A powerful finish line for an evocative and exciting spectacle with pianist Simon Søgaard holds a meeting of all ages enthralled, entertained and enthusiastic from start to finish.
All of it is framed in a completely simple and tight set design. A black room where the flowers neatly placed in a row. Illuminated so that they alternately resemble roses and thistles, and it is effective when the two actors either enter, avoids them or trampling on them.
It’s a very promising debut, from the not yet fully trained director Kasper Sejersen. He manages to set a tempo and even the difficult art of stopping up to intensify the intensity and by that involving the audience in a strange way as a co-author in this strange place where everything meets and then again doesn’t.
After half an hour you stand in the streets again where everyone is busy 2 days before the first Sunday of Advent and feel how this rich half hour created a look into Time in a glaze clock.”
Else Knuth-Wintherfeldt. Kulturkapellet

“Well-functioning mini-theater concert” ★★★★
“We are being led into the dark room at the alternative Transformator and you cannot really know whats waiting for us the next 45 minutes.
The show starts, and seems at once strong and cross-bordered. We are in contact with the actors with strong presence. The whole performance is presented in singing, with lyrics including L.O.C. , Malk de Koijn and Suspekt and also Hans Christian Andersen, Thomas Kingo and B. S. Ingemann.

The play is about two people from each time, meeting in a strange place. You feel their impotence and passion. The directors purpose is to get the audience to think for themselves and he succeeds.”
Sarah Grønkjær, Kulturkongen.

“This evening in Transformator’s stage we sat in three rows along the length of the stage. A grand piano stood ready on the left side. When the darkness fell to let the play begin, came shortly after without notice intense flashes, which revealed that the floor was covered in standing silver roses with a hand width between them. As a field covering the entire floor. The flashes came with a heavy repetitive bass, and Merete Mærkedahl stepped forward, wearing a hooded sweatshirt, jogging pants and sneakers, and started rapping about the hard and rough present life.
After a few minutes the  pianist breaked the rhythms and let the 1800 – century man take over with song. Here was just as great emotions, but more marked by longing, honor and faith. And so it switched between the two actors Carsten Svendsen and Merete Mærkedahl, showing that they have talent as singers, though their rap sometimes was more to the spoken word.
It was really nice to have two such relative contrasting characters play up against each other, and through the show switched roles when Merete Mærkedahl instead of rap sang a gentle romantic song.
The play was a long burst of energy in 45 minutes, which was neither too short or too long. Transformer showed again that they can get a lot out of a little when it comes to set design. You can only have respect for the two actors craftsmanship, and the music was super performed by sound engineer and pianist. The delicate rhythms facing the heavy beats were absolutely wonderful. It made the whole play to an overwhelming good experience. The hairs stood up in the neck, and I came into the illusion. That piece did not get me to reflect or think about the content, hole in it! It can theater do a second time.”
Jais Ikkala,

“Glaze” is the new and the old, that clash in music, poetry, piano and crisp beats, provided by the cast of very solid style! A performance that tells a story, but leaves room for interpretation. Watch it!”
Mikkel Orum Skovgaard-Petersen