Kajsa Bergström goes on the Gothenburg City Theatre and reevaluate its approach to Karlsson on the roof.
Like so many other children I saw every single Astrid Lindgren film over and over again during my childhood. All except “Karlsson on the Roof” which I detested so heartily that once was enough. Anxiety supplement when Karlsson put into unmarked units for poor little brother was so large it for me touched the child’s thriller.
Only now has a suspended, flamboyant Krister Henriksson , with the ill-fitting suit pants pulled up sharply in the crotch of cheap electricity, made me understand his greatness. Henriksson makes Karlsson with smeared makeup, soiled jacket and tighter jewelry at a småberusat, annoying, but lovely, male children originals. He declaims and scold the children thrilled the audience who willingly ghouls back.
They, like Nour El Refais truligt lonely little brother, love him unconditionally. He may be a tyrannical friend, yet unswervingly loyal as soon as the adult world or stupid peers trying to barge in.
About the children primarily worships Karlsson, I would also strike a blow for the tystlåtnare little brother. El-Refai let him be understandable butter and misunderstood with scraped knees and sore lip, against a united front of unsympathetic adults and older siblings in well-matched gaily colored 1960 talssweaters.
It is sometimes uneven. Frederick Evers evil Tiffany Persson copy Miss Bock – the wonderful förnumstiga beak boots – tear down proper slapstick laughs, but represents rather a self skit than a natural part of the show. The same applies bout engines with thieves Fille, Krulle and – not surprisingly highly acclaimed – nyuppfunne Knulle.
But the atmosphere is so high that little stumbling is quickly forgiven. Very tied addition flashy together by a jazz trio who blithely playing at, clearly visible in the middle of the rotating stage design.
Director Alexander Oberg do not flinch from the friction that occurs when placing a 1950s family on a modern stage. The adults smoke at the kitchen table when the words run out will slap. “You can not really beat the children,” shouts a clear voice from the audience and gets support from many parts of the hall. It is engaging and funny, messy, and in some places just so sad that might just lonely children can understand.
Kajsa Bergström
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