The best: the encore How to me anyway works fine just fine in the stripped-down version.
Worst: Leisurely unit.
Audience: Approximately 500 (sold out)
Just when Emil Jensen will rise up on Storans scene is the fire alarm. Theatre vacated and everything becomes a mess of steps, jackets, field fires and uncertain smiles.
“It’s a joke,” said a woman who swishes past the throng. She is not the only one who doubts. But no one will stop us in the hallway, or meet us at the Avenue with a deprecatory gesture. Neither Emil Jensen makes a surprising admission by stepping out of the fire truck that passes.
Can it really to be that the people of Skåne are too hot to handle tonight? In such cases, it bodes well for the show, which we dropped into after fifteen minutes in the fresh air. “Thank you so much for the hot receipt,” starts Jensen says, and the audience laughs conciliatory to the dry dad joke, yes, applaud, even.
Emil Jensen is easy to like. His standup, which introduce each song goes over to one of his ordvändande poetry slam-poetry, imbued with the refreshing idea that we live in the cause of humanity and solidarity era. He invites us all to take a stand and not fall for the “right-wing extremism” – the stands are not for nothing, you will fall for everything; mantra in the poem that gave its name to the show.
As entertaining agitator, he is then anxious, and also very, very funny. It’s format is wrong. Two 50-minute sessions with break, he is far too mild figure to support. In the second act must Jensen admittedly accompanied by a cellist and a violinist, but it continues to be a low-key event.
Emil Jensen with a full band, and Emil Jensen in duet with Edda Magna’s son, the constellations through the years has been enchanting the scene. This evening will show at most a subtle pep talk for the left, with the melancholy ballads ämnesdelare. Inspiring, pleasant, and sometimes a little sleepy.