"The Story of the Christmas Eve of Karl-Bertil Jonson"
Posted by Tage Danielsson. Direction, choreography: Anna Vnuk. Processing and text: Henrik Dorsin. Production design: Per Åhlin. Scenograf: Pelle Magnestam. Composer, organizer: Carl Bagge. Participants: Anton Lundqvist, Peter Dalle, Vanna Rosenberg, Henrik Dorsin, Katrin Sundberg, Andreas Rothlin Svensson, Björn Wikström, Lisa Veronica Andersson, Isabelle Billstein. Chapel / piano leader: Carl Bagge. Orchestra: for "Texas" Johansson, Martin Höper, Per Ekdahl. Phase: Scale Theater. Play about 2 hours.
The rescue hand holds bags in bags outside. The audience's premiere gives snuggle, but they are alone. The Scalateater is now a big labyrinth bar and tables, but the lounge is fine right next to the road.
"The one who is good here is wrong," says Henrik Dorsin, a concert performance and narrator of the story. He does not sound like Tage Danielsson, but still belongs to the mild irony that lives from Christmas.
The artist and director Per Åhlin stands for all shapes, but the recognizable joy of the audience speaks volumes about "loving" Swedish. They all saw Karl-Bertil Jonsson and they love him.
For the revolutionary red curtains are streets and houses Åhlina. Figures are similar to their cartoons. Peter Dalle as a collegiate father is also a limited and angry little freak like he is singing well. Vanna Rosenberg as dear mother Karl-Bertila is a complete catalog of outdated women's eyes: little Sickan Carlsson, little Selma, a little housewife movie and a school style for beautiful girls. Desperately subdued, beautiful, sweet and hit the smallest handling.
Read more: DN Performance Report
Each has many roles, and each role also has its own conceptual beauty painting history – fiduciary comedy, poverty, fnash romance, played with well-trained melodies of old Pilsner films (Lorrystilen).
Andreas Rothlin Svensson makes a spooky soloist, Katrin Sundberg, sister of horror, Björn Wikström, a surprise in the song Jussi Björling and a beautiful laconic tree.
Most of the portraits are Anton Lundqvist Karl-Bertil, an unusual boy with crispy hairstyle, long arms and legs, and a sharply distorted glow: not as acrobatically funny as he could be, but really a moving puppy.
For the first ten minutes, they feel weak and banal. Neither the grandchildren of the different lunatics, the original and comically viewed choreographers get a real impetus. I recall thinking: This is not an exhibition that should be beautiful, but Karl-Bertil.
But then Carl Bagges takes it jazz musical speed and more elaborate text and replicas, it will be better. It's really funny if the whole concept of all age groups, Karl-Bertils, Tage Danielsson and now Dorsins, faces the snow conditions of this performance, the privileged position of the players and the salary claims. Then the moment raises the scene and stretches the salt. And when Dorsin compares the pay difference between the director and the worker during the time of Karl-Bertiel's time (5 times), today (55 times) can be old enough to hear the agreement Scala susa, a response from the time Pro Pro Theater lived here.