The Wind on The Moon

How do the performing arts best fulfil their commitment to inspire and engage children in the 21st Century? We set out to find the answer together with Stockholm’s Royal Dramatic Theatre and created a theatre experience that truly spoke the language of young, curious minds.

Brand Experience, Innovation, Storytelling

;



“It’s genuinely creative and that’s what makes it fun to literally look at: the set design, the animations and the projections that all fool the eye in a fun and elegant manner”

Dagens Nyheter

The Impact

Rethinking the theatre experience and creating a sold-out show.

96%
of theatre seats were filled, leading to a six-month extension of the show.

Rave Reviews
in all major Swedish newspapers.

Top-grossing
Rated the 2nd most grossing show at Dramaten in 2017.

Director
Ellen Lamm

Music
Matti Bye

Stage light & video
Eric Holmberg

Scenography & Costumes
Magdalena Åberg

The Challenge

It’s called ‘fantasy’ for a reason.

Eric Linklater’s famous book “The Wind on the Moon” is an absolute children’s classic – but from a theatre staging point of view, it’s a bit of a headache.
The two main characters, sisters Dinah and Dorinda, swell into balloons and transform into kangaroos, just to mention one example. Throw in a few James Bond-ian car chases and some hundred costume and scene changes, and you get the gist.

That’s why Dramaten, Stockholm’s Royal Dramatic Theatre, came to us. They’d seen some of our animation work and wanted our help bringing the book to the stage for a very picky audience: Little kids and their families.
But this actually tapped into an even bigger question. How do the performing arts best fulfil their commitment to inspire and engage children?

;



“It’s a technically spectacular family show, cleverly unfolded and with fun effects”

Svenska Dagbladet

The Process

Audience first
As an art form, the theatre keeps reinventing itself, and in this digital age, it would be tempting to throw in a lot of cutting-edge technology and call it a show. But honestly, if the audience doesn’t know how to engage with it, it’s just likely to make it more difficult than an Off-Off Broadway staging of Beckett. That’s why we always think ‘audience first’ and insist on using technology merely as an enabler to create more immersive experiences.

Workshop and prototyping
Together with Dramaten’s scenographer Magdalena Åberg and director Ellen Lamm, we sat down for some delightfully messy workshops with a model of the stage, prototyping how the show and set-up would unfold, going over costume and scene changes, feverishly storyboarding and studying the script to the point where we could recite it in our sleep.

Once we had the overall flow and animation down, we moved to Dramaten – literally! – to test and modify on the stage together with the actors, stage crew and technicians.

…And The Show
Was Magical!

The final result was a stage set-up with a 4 x 8 meter projection wall on which we screened a supporting animation throughout the show

– not as a pretty scenery, but rather as a dynamic set, which the actors could interact with.

And without exaggeration, it worked like magic! The animation truly brought Linklater’s fantasy and creative imagination to life, kangaroos, golden pumas and silver falcons included.

And by thinking ‘audience first’, we contributed to producing a top grossing, sold-out show that got such rave reviews it was extended for another six months.

All photos courtesy of Dramaten

Christian Mogensen

Partner, Creativity & Impact

Reach out to Christian with general inquiries to collaborate. He can quickly help figure out if there’s a match in need and competencies, and help take the first steps in setting up a hopefully long and fruitful collaboration

Send mail +45 3020 8686