I love musicals
Peter Jöback and Helen Sjöholm
Best: Phantom is right powerful anyway.
Worst: Wooden husband in the ass.
Public: 10 814.
I guess Ryan Air hate Peter Jöback. Hate him from the bottom of its profit-maximizing heart. There is no alternative, which on their own may threaten musical flight to London as Peter Jöback.
He also teams up with Helen Sjöholm, the many-headed Stockholm Sinfonietta and conductor David White, there are soon no reason at all to go to the West End. At least not to go on the musical. It is enough just fine with staying here in Little London, stretch their legs and let yourself be seduced by a straight through professional performance.
Peter Jöback have traveled around a few years now with his musical show I love musicals and although I have not seen the previous performances feels the concept, the grip again. Cherry pick from a few well-chosen musicals as Guys and Dolls, Cabaret, Chess and Miss Saigon (complete with a sweeping US Army helicopter on the long, arched big screen), prancing on with everything you have, accept the people’s jubilation. And why not? It works most of the time just fine.
Apart from a little småtöntigt number of the world’s few, from Boatswain & amp; Malin Lenin & amp; Stalin, it is beautiful and enjoyable, but also very, very far. To revel in musicals for over three and a half hours (including intermission) is just a little over.
Fortunately, the Peter Jöback and Helen Sjöholm is so professional. As in My Fair Lady, a charming duet with Helen Sjöholm in the role of the poor flower girl Eliza Doolittle and Peter Jöback as torre phonetics professor Henry Higgins, complete with cane and shiny smoking jacket.
A pair of guest vocalists are also appearing. The American baritone Norm Lewis makes an okay I’ve got plenty of nothing from Porgy and Bess, but impresses above all in the good-natured Gershwinpotpurriet.
Even Emmi Christensson, budding musical star from Falkenberg, made its mark on the night and made a mighty effort as Christine in The Phantom of the Opera.
The advantage of this type of musical good table arrangement is that Peter Jöback and Helene Sjöholm can release all transportation routes and, instead, for example, tell anecdotes from Kristina and given that it is 20 years since they broke through as Robert and Christina, they have some amusing moments to share.
A little problematic it becomes really only when Jöback and Sjöholm launches Stephen Sondheim as the “svare” musical composer, but Sondheim’s song Happiness is not so much difficult as direct dull. And one is left after all with some questions during the evening.
Why do Emmi Christensson like a manga character in duet number from The Threepenny Opera? What is the idea that Peter Jöback reminiscent of a gang member in A Clockwork Orange when he sings Mack The Knife? And this waxy look that world musical stars insist on using when they span the eyes of some distant, unclear what, what is it about?
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