"A tragi-comedy" called the Strindberg play and the laconic cast: "Tekla. Adolf, her husband, a painter. Gustav, her frånskilde man, a lecturer. (Traveling under an assumed name.)" – only the actually telling throughout the piece.
For this Strindberg has which time in order sat down at the skrivdonen to with equal parts frenzy and good mood once again read the lusen of the women. And these triangles between utlevande, like creation, women who sucked the must, and cheated the shirt off both of the lovers and husbands be varied in various settings. Yet he seems never to understand what he actually wrote – how much of the internal conflict bubbling up in the replicas.
And Görel Crona, who brazenly and of course, once again, for both the director and one of the lead roles, has created a show full of these obscure passions and battles. The afternoon sun shines obliquely on the bathing platform from where Johan Hedenbergs sardoniskt skrockande ex-husband engaged in the mind-game with Johan Fagerudds young little naive dauber and Cronas Tekla in light blue spawning colors is most similar to a 20′s"flapper"; here a young woman who takes what she have. And in this, yes, psycho-thriller, to be all three as well as a part of the same psyche where the boundaries increasingly dissolved, and in which all feel they have a claim to require.
"What is a woman, what is a man?" it is as if Strindberg at a deep unconscious level all the time ask themselves in their dramas, behind its façade of peremptorily nättroll. And who is weak and who is strong – the fear to be eaten and exploited swaying like the reeds between the spouses here in Cronas version. "Creditors," Strindberg’s Intimate Theatre of dare, as well as the lascivious and brave to go right in intimate contact with the old titanens "tragi-comedy."