Thursday, November 13, 2014

Mia Skäringer | Wrong Mary – Gothenburg Post

The Pub Show

Mia Skäringer

Wrong Maria

Best: The more physical numbers when cutting Inger takes the whole hog.

Worst: Julskämten are predictable.

Audience: Crowded, standing ovations and many laughs.

Mia Skäringer is the new dinner show and follows on the success Dyngkåt and how sacred anywhere. She continues to tell the story of a “little girl with the inside to the outside” who only wanted to be seen and loved and did not hesitate to do violence to himself for a little confirmation.

Mia Skäringer doing really well. She can now control despite premiere nerves both the situation and the scene fully. What is new is that Mia Skäringer been with the band, conductor Stefan Sporsén leads the orchestra through songs by Olle Ljungström, Peter LeMarc, Håkan Hellström and finally Leonard Cohen. Mia Skäringer sing both tender and strong and choose to put aside the usually clear värmländskan.

But it’s not just dialect mask that makes it not really works to seamlessly move between monologue the verbiage and the romantic coat poetry. The terms vary too much.

Otherwise, feel the theme again, not only from Mia Skäringer but from other comedians that are at about the same place in life. And they are notoriously numerous. So it’s about social rules, mingle parties, everyday stress, time for yourself, troublesome sex life, småbarnsliv and so way too long party on Christmas celebration at home in Kristinehamn. Julångestskämten is hackneyed and predictable. I expect more sharpness, bitigare acid and greater willfulness of Mia Skäringer.

Then it’s more fun when she presses the “creative”, horny Hugo Rask-men and the very best is cutting Inger when she plays out physically as the aerobics session on the toilet and in the breakneck one night stand number.

Still, I think it gets too much sacrifice cardigan. Mia’ve all light on it, get our full and undivided attention. We love her. Well, it is clear that it pains especially when cutting Inger gives us hard snapshots from childhood, but I can not quite get it together vulnerable solitude of the reasonable adult problems of Solsidan character.

I would like to hear about how Mia Cut Inger turns from their own history, breaking the repetitions and stepping forward to admit that she took revenge and dare to proclaim himself as seriously loved, safe and successful. I want her to sign for his triumph rather than presenting itself as a “wimp, martyr and bitter cunt.”

In the end, actually the character Tabitha in and berates Mia Skäringer. It’s liberating.


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