A Macbeth-set, but the picture of the world which flooded by blood becomes false, and argued that teatervetaren and Shakespeare scholar Jan Kott, and the blood is not symbolic but literally and physically tangible – the piece consists of a theme and it is murder, and murderous. And here at the Maxim theatre has Cone heeded, the blood flowing after the walls of Rufus Didwiszus refined simple set design of the boards and wall bars. Ann Bonander Looft has dressed the ensemble in the black kiltar as a small scotch selection, and in addition to Mikael Persbrandts Macbeth and Lady Macbeth, played by Marie Richardson, so played all the other roles of the additional four actors in a rather compressed version of Göran O Eriksson’s Swedish transl ation.
And at the royal dramatic theatre lately let Stefan Larsson Richard III chat jovially in the stylish costume of scenrampen and this is the start of Larsson even easier and as well as challenging; here, we have Mikael Persbrandt and here Marie Richardson, hears and tastes on their roles, it is in the beginning a sense of perusal, selection, and where also the rest of the ensemble testing, and switch modes.
And except for a few scenes where you want to have it on samtidsteater-style, so it is not so tuddigt as it may sound. Macbeth becomes gradually another – he gets such a killer to talk again with the Cone, a dream about the final murder that will end the killings.
If at the beginning I can find that Persbrandt cuddles around their almost strindbergskt familiar stance as he afterwards very convincing as this crazy, scared, and completely lethal pojkmannen that has been beyond anything like that of a child soldier in a terrorband. Also Richardsons Lady Macbeth will find beyond the given when the pheasant caught up with her, when her hands never wash clean from the blood.
the Rest of the ensemble impresses also in the spot rapid rollporträtt, not the least of Ellen Jelinek and Charlotta Jonsson as small rävlika assassins and Johannes Bah Kunke and Jens Hultén sekonderar excellent as the more or less noble men.
And during this opening night, with red carpets, press photographers and high kändisfaktor at the Maxim theatre so hushed murmur as well as devoutly in the salon; everyone could see what was running there in front of our eyes – a picture of the world flooded with blood.
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