Gothenburg City Theatre, Main Stage | Karlsson on the Roof by Astrid Lindgren – Göteborgs-Posten

Theatre

Gothenburg City Theatre, Main Stage

Karlsson on the Roof by Astrid Lindgren

Director: Alexander Oberg

Cast: Carina Boberg, Nour El-Refai, Eric Ericson, Frederick Evers, Anna Granquist, Krister Henriksson, Adam Lundgren, Minna Tägil and Wilhelm Johansson (the latter two from Schillerska high theater programs, year 3)

Set Design: Sören Brunes

Costume: Zofi Nilsson

Music: Georg Riedel

Conductor: Peter Tikkanen

Musicians: Henry Bengtsson, Michael Edlund, Peter Tikkanen

Playing empty 31/5

A bit darker and more subtle Karlsson on the roof flying in the City Theatre’s main stage in a lavish, well executed performance that takes children and children’s culture very seriously, consider Mikaela Blomqvist.

The nuclear family were not as a concept in Swedish before the end of the 60th century, but the first book about Karlsson on the Roof wrote Astrid Lindgren already in 1955. No doubt that no one talked about the nuclear family because it was so obvious that it simply could be called family. Just because was well needed also Karlsson who could fly in and clamp down on its hierarchical power structure. And although family structures today are slightly loosened is hardly the power relationships between adults and children there.

When Karlsson roof now be played at the City Theatre, for all of six years and upwards, has been a director Alexander Oberg chosen to retain the original 50s. The family Svantesson are here homegrown in a double sense. Adam Lundgren and Anna Granquist is the family’s lively teenagers while Eric Ericson and Carina Boberg they are slightly stressed parents. Dressed in Zofi Nilsson’s handsome, thick, knitted sweaters in garish colors, they lack at any time in dashing vocal harmonies. Someone Meeting is typically not access the sullen little brother, whose disadvantage is so well established that it manifests itself in actual nickname. Played by an almost unrecognizable Nour El-Refai, he runtskuffad and bullied, both of their own family and classmates Christer and Ms.

But neither little brother or audience needs to wait long to Karlsson, little brother’s protector and detractors, makes flying entrance. Against the colorful, splendid family is Krister Henriksson’s Karlsson, by his own admission modeled after, among others, Patti Smith, indefinite dirty in dull colored suit, long hair and different colored eyebrows. It is both a little darker and more subtle Karlsson than we are accustomed. Henriksson plays the manipulative, lättuttråkade, thoroughbred divan Karlsson without unnecessary lustifikationer, which just makes him that much more fun.

As found he life in the Karlssonska refrains we all know so well. It is a worldly thing, he repeats while he does break little brother’s steam engine, cut holes in little brother’s bed sheets or eating up his Saturday candy. El-Refai match Henriksson well with his little brother and switches deftly between wide-eyed admiration, tormented the sadness, horror and cheering screams.

The scene occupied almost entirely by a rotating single-story doll house without walls, which allows us to see into different parts of the apartment as it spins.

Set designer Soren Brunes has allowed the family Svante’s apartment, as well as many contemporary middle-class, go almost entirely in white. In sharp contrast to this is Karl’s little house perched on the roof smart enough can be folded out and up. The inside hides wonderful color kicking walls full of different colored garlands and Karlsson’s self-completed and equally colorful art.

In a separate room in the apartment in the middle sits three musicians led by Peter Tikkanen and especially Georg Riedel’s music, which may enhance the ambience of the scenes.

This is a lavish, well executed and to the smallest detail well-made show that takes both children and children’s culture very seriously. Sometime could be understood Oberg have turned down both tempo and volume. Some replicas drowning out the music and the excited cries of the younger sections of the audience and the stage spins sometimes so quickly that I almost get dizzy.

But on the other hand, serves the very snurrigare scenes to illustrate daily life in the family . As when the mother, in a wink directed at the adult audience, vacuums in time to the music while the teenagers and the father screaming asks her if the laundry.

When Little brother gets a gun carriage by her mother, instead, several of the children in the audience screaming loudly. But that would surely Karlsson superfluous if not younger brother were just lonely and vulnerable. Where the first act is devoted to Karlsson revolt against the family Svante’s splendid arrangement is also very real opportunity two darker. Introducing the strict housekeeper and babysitter Mrs. Bock, genuinely nasty and actually bocklik in Frederick Evers form.

Darkest of all are late, at least from Karlsson’s perspective. For when the nuclear family is completed with the help of the little dog Bimbo to keep the little brother company is Karlsson suddenly superfluous. Little brother’s happy endings and Allocation of the family is thus Karlsson’s accident and in the play’s final minute, it is also him we see. Alone he sits in his colorful, messy home and picks apart a red car, he just has forced himself to his former friend while he listlessly mumble out a song that he wants to have fun. And probably feels a little unfair, because fun is exactly what we in the audience have had the last two hours.

Specifications:

Gothenburg City Theatre set up Astrid Lindgren Karlsson on the Roof Krister Henriksson and Nour El Refai in the lead roles.

Mikaela Blomqvist is a critic GP Culture. Reviewed the latest Valerie Solanas play Up in the ass on you which is now translated into Swedish.

El-Refai match Henriksson well with his little brother and switches deftly between wide-eyed admiration, tormented the sadness, horror and cheering screams.