#skytmeg

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“skyt meg!(shoot me!)” is still going strong at Rogaland Teater!

The play is running until March 14th.

“skyt meg!” is a black comedy about drugs, politics and revenge.

Tickets

Sources: nielserling(Instagram story),xamse(Instagram story)

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Photos of Tarjei from press screening of the play "skyt meg(shoot me)" posted on theater's social media.

They have asked if it's possible to make a black action comedy about drugs and overdose? The feedback from a large test group has been unison and agreed, and the simple answer is YES!

Foto Stig H Dirdal

source: Rogaland Teater

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It's the last week of "skyt meg"

Tarjei's co-star Gorm Grømer posted about it on his Instagram profile and shared few new pictures

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Rogaland Teater updated Tarjei's biography on their website. This December Tarjei will participate in their play Skyt Meg(Shoot me)

Tarjei's Biography

Tarjei Sandvik Moe is an actor, director and screenwriter, but perhaps best known for his role as Isak in the series SKAM. He graduated from the screenwriting department at the Norwegian Film School's class of 13 in the summer of 2024.

In the fall of 2025, he will be seen in the performance Skyt meg (Shoot Me) at Intimscenen and it is the first time Sandvik Moe has visited Rogaland Teater.

Selected roles

Sebastian in the monologue "20. November"(Lars Norén) at Oslo Nye Teater Alfonso and several others in "Min Briljante Venninne (My Brilliant Friend)" at Oslo Nye Teater Several roles in "Til Ungdommen" directed by Mattis Herman Nyquist at Oslo Nye Teater  Tarjei in "Det Går Bra" by Even Torgan with Antiteateret Milan in "Nyanser av Gris" by Even Torgan with Antiteateret  Håkon in "Snøfall (Snowfall)" at Oslo Nye Teater Olav in "Olav Den Heldige(Olav the Lucky)" 2023 Doody in "Grease" at Chateau Neuf

Employment

Term employee at Oslo Nye Teater (2018-2021)

Miscellaneous artistic works

Screenwriter and director of the short film "CATILINA" (coming 2025/2026) Screenwriter of the short film "Vi Burde Ha Vært på Film (We Should Be a Movie)" Screenwriter of the short film "Kunsten er Død (Art is Dead)" Screenwriter of the graduation film "Jeg følte jeg måtte være her( I felt I had to be here)"

Selected roles in film and television

Isak in "SKAM" on NRK  Markus in "En Affære" in cinema Nicolas in "Skitten Snø" on NRK  Petter in "Gledelig Jul" in cinema Johannes in "Maxitaxi driver" on NRK Oscar in "Forbannelsen" (with Nina Ellen Ødegård) in cinema Tarje in "Furia" on Amazon Prime Eivind in "Salsa" on DR TV

Awards

Gullruten 2017, Name of the Year, for "SKAM" Amandus Blikkfang 2024, Best Screenplay, "I felt I had to be here"

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Rutinert relevans – Scenekunst

Forestillingen Skyt meg er morsom og effektiv, men den vipper også over i rutine.

Newest review of the play "skyt meg"(google translated)

"The performance "skyt meg" is funny and effective, but it also veers into routine.

On Rogaland Teater's intimate stage, the audience is let into a room that resembles an empty swimming pool. Set designer Mathias Lundgren has covered the walls with green and white tiles that occasionally open up into ribbons of light. Along the floor on one long side runs a platform that is partly seating for the audience and partly a performance area. On the other long side are rows of chairs in a small amphitheater. I end up in the amphitheater, but as an audience we meet the gaze of both the actors and each other.

The set design of the performance Shoot Me partially blurs the distinction between actors and audience. This has long been a basic principle in the collaboration between director Even Torgan and playwright Tine Skjold, and this production is no exception. On the Facebook profile of Antiteateret, which Torgan started in 2013, these five dogmas are listed:

We will never create theatre just for theatre enthusiasts.

We should never put on theater that is not relevant to the society we live in.

The performances should never last longer than 1.5 hours.

We aim to shed light on taboo topics.

Rules are made to be broken (Including the ones above).

However, this is not an Antiteateret production. In this performance, Torgan and Skjold have worked with an artistic team from Rogaland Teater.

Crime and realism

Shoot Me is about drugs and human dignity, and whether criminalizing drug use works. Early in the play, police investigator Kine (Nina Ellen Ødegård) loses her daughter to an overdose. Colleagues at the police station see no point in investigating, and in despair, Kine takes matters into her own hands. She begins to unravel the network of therapists, boyfriends and dealers who in various ways supplied her daughter with drugs.

We get to know her daughter Mikaela before the tragedy strikes, including by both Kine and I being able to accompany Mikaela to a therapy session with Troy. As a child, Mikaela was a restless child who needed medication early on, and between the lines, her mother Kine may be struggling with a similar restlessness.

Parallel to this apparent stage realism, the play also borrows quite freely from crime fiction. This makes the plot impossible to reproduce in detail without revealing cliffhangers to a future audience. These twists are often tragic and comical at the same time, and neither of them ends very well. As the title suggests, a police detective has easy access to weapons.

Pedagogical dialogue

The chairs we sit on can also be thought of as props. They look as if they have been in use at the nearest secondary school since the early 1990s. Director Torgan has worked extensively with theatre for younger audiences. I have the same experience from an audience perspective, including guiding young people who are to give feedback on the performing arts created for them. That is why I quickly associate it with The Cultural School Bag when actor Tarjei Sandvik Moe, at the opening of the performance, without any other introduction, addresses us in the amphitheater and asks everyone who thinks that alcohol should be allowed to raise their hand.

The actor eventually tells the audience that his name is Troy and he is a psychiatrist. The character Troy continues to ask us questions. At the same time, he reminds us that no one has to answer, and that we are responsible for what we share. Why is alcohol allowed in Norway, while many other drugs are illegal? Is cannabis more risky than alcohol, and if so, why? Troy asks for opinions from younger audience members. A girl speaks up and says that there is little talk about drugs at the school she goes to, and that she would like to learn more. The psychiatrist asks an adult man in the audience if he feels privileged. The man answers in the affirmative and reflects on drug use, privileges and safety. Troy routinely steers the conversation towards the question of decriminalization. Can it strengthen human dignity for drug addicts and lower the threshold for seeking help?

The question is relevant. In 2021, the then government presented a proposal for drug reform that meant that the use and possession of small amounts of drugs for personal use would be met with help and treatment instead of punishment. Illegal drugs would still be illegal, but the reactions would come from the health system and not from the police. The proposal was voted down in the Storting.

The conversation between Troy and the audience flows well, and many participate. Troy says that Rogaland county is at the top of the drug statistics in Norway.

Charming, but not intoxicating

This type of approach to the audience from stage characters can work well, especially when meeting young people who withdraw when the means become too poetic and ambiguous.

But there in the pool I gradually feel a reluctance to the role of clever spectator. Pedagogy is also manipulation, and I miss Troy's immensely effective conversational leadership creating a space to reflect on what it itself does. When the psychiatrist climbs onto a low, wicker divan and declaims a poem about intoxication in a more general sense, as life force, it is charming but not intoxicating theater.

The audience involvement Troy initiates, however, continues into the drama. Muhammed, a police colleague of Kine, enters the room with a newspaper, flips through the quiz, asks the questions to the audience and collects answers from us, as if we were sitting at the lunch table at the police station with him. Later in the performance, we are all colleagues at a Christmas party that does not end as the station chief and Muhammed have planned.

Police investigator Kine, on the other hand, is not in direct dialogue with the audience, even though she relates to us, for example at the aforementioned Christmas party. Nina Ellen Ødegård builds a character that cannot be immediately calculated. It engages in a different way, which dampens my reluctance and instead arouses interest. Deep love, contempt and frustration surge between mother and daughter at the same time. When the worst happens and the abyss opens up, Kine continues to alternate between black humor, blind revenge and despair. Ødegård creates a professional woman who does everything she can, who never loses a skewed and humorous view of the world, but who is also hunted, tired, afraid and fundamentally uneasy. It touches.

There is no father in the picture, and that fact is brought back to Kine's face when she calls one of her daughter's former teachers to fish for positive childhood memories. The teacher quickly and simply declares that she is only responsible for what her students will learn. That is true, but some of these more peripheral characters become a bit flat and function as signs and principles more than as people. The distance between the teacher in the script and a suggestion from the audience in the introductory conversation about strengthening the school with more adults present becomes noticeably large.

The question as a profession

A scene that sticks out more strongly is when Kine visits psychiatrist Troy after her daughter's death. Both psychiatrists and investigators use questions as tools. He asks from the therapist's perspective whether she needs help processing the emotional chaos she is in. She asks back as an investigator whether the medications he prescribed may have contributed to her daughter's drug addiction and death. Both are right to a certain extent. In a different type of script, this dialogue could have been developed into a deeper social satire: The two professions are created by society to solve common problems, but both lack tools that can actually prevent the tragedy. This script only manages to unfold the situation as surface and possibility.

It's nice how "skyt meg" consistently refuses to choose between being a comedy and a tragedy. The performance is marketed as an interactive crime drama and raises heavy questions with humor and storytelling. Yet it has a nimble efficiency that for me can tip over into routine. When Nina Ellen Ødegård resists this efficiency, something happens that captivates me. But direction and dramaturgy rarely take risks. Between the five dogmas above, I see an unspoken rule about never, ever losing the audience's attention. The rule is sympathetic, and I also believe that such a practice can grow almost unconsciously as a consequence of the Antiteateret regularly playing for a young audience that does not seek out the performances themselves.

But what might have happened if the management had occasionally, just occasionally, taken the chance to break that rule? What is the relationship between routine, risk, and relevance?"

[tarjeismoeworknews]

SKYT MEG (SHOOT ME)

Tarjei is going to be part of new play called Skyt Meg(Shoot Me) at Rogland Teater taking place from December 10, 2025 - March 14, 2026. Play is described as black comedy about drugs, politics and revenge.

We meet a mother who is furious about losing a child to an overdose. In response, she will take revenge on her daughter's drug-addicted environment - with guns.

About 350 people die in Norway every year from overdoses. In working on the performance, they will explore punishment vs. help and whether the politicians' new drug reform is a farce, or whether it can, for the first time in Norwegian history, ensure that drug addicts get help?

Skyt Meg is an interactive crime story – cheeky, pitch-black and bloody!

Cast:

Kine - Nina Ellen Ødegård

Mikaela/Kristin/Young woman - Malene Wadel

Mohammed/ Adam - Hamza Kader

Rudi/Tobias/Hjemløs mann - Gorm Grømer

Troy/Young man - Tarjei Sandvik Moe

Written by: Even Torgan and Tine Skjold; Director: Even Torgan; Scenographer and lighting designer: Mathias Langholm Lundgren; Costume designer: Mira Genevieve Dagbo Landa; Dramaturge: Matilde Holdhus; Mask: Mio Eyfjord

More info and tickets

More about the play

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It's premiere day!!!

There will be crime, bloody humor, biting satire and political friction when "skyt meg(shoot me)" is played tonight!

Tvi, tvi!

By: Even Torgan and Tine Shield Director: Even Torgan Stage photographer and lighting designer: Mathias Langholm Lundgren Costume Designer: Mira Genevieve Dagbo Landa Dramaturg: Matilde Holdhus Makeup artist: Mio Eyfjord

Actors:

Nina Ellen Ødegård: China

Malene Wadel: Mikaela / Isabelle / Young woman

Hamza Kader : Mohammed / Adam / Homeless man

Gorm Grømer: Rudi / Tobias / Homeless man

Tarjei Sandvik Moe: Troy / Young Man

Photo Stig H Dirdal

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Stavanger: SKYT MEG - Dramatikk i prosess - TEKSTALLIANSE

Sammen med Rogaland Teater og Litteraturhuset i Stavanger inviterer Tekstallianse til fagsamtale om dramatikk. 10. desember har “skyt meg” u

On Monday, November 17 at Litteraturhuset in Stavanger Tarjei together with playwrights Even Torgan and Tine Skjold ,and fellow actor Hamza Kader will talk about their process from idea to premiere of "skyt meg" and how they work with socially relevant themes, audience interaction and their ever-living dramatic text. 

3 weeks before the premiere, the script is still not finished. At Litteraturhuset, we invite you to a conversation with the playwrights and their actors, to take a closer look at the playwright's writing process. What happens when a script is largely created on the floor and not just in the Word document? What happens when the free field of theater and its methods invade the institutions? How much research is enough research when dealing with social problems on on stage? And when can something really be called drama?