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"The story of Carl-Bertille Johnson's Christmas Eve"
Tage Danielsson. Direction, Choreography: Anna Vnuk. Processing and Lyrics: Henrik Dorsin. Production design: Åhlin. Scenographer: Pelle Magnestam. Composer, Organizer: Carl Bagge. Participants: Anton Lundqvist, Peter Dalle, Vanna Rosenberg, Henrik Dorsin, Katrin Sundberg, Andreas Rothlin Svensson, Björn Wikström, Lisa Veronica Andersson, Isabelle Biedstein. Chapel Master / Piano: Carl Bagge. Orchestra: "Texas" Johansson, Martin Höper, Per Ekdahl. Stage: Scale Theater. Approximately 2 hours of play time.
The Salvation Arm maintains a boiling pot outside the street gates. The premiere audience is intimidating but needs ego. The scalatater is now a big maze of bars and tables. But the lounge is down the road, no problem.
"The good man here is wrong." Henrik Dorsin is a ritual and storyteller of the theater. He does not sound like Tage Danielsson, but he still belongs to the mild irony of Christmas movies.
Artists and Per Ahhlin creators have shown all their designs and the audience's remarkable pleasure speaks a lot about "good-loving" Swedes. Everyone loves him when he sees Karl Berthill Johnson.
Behind the Revolutionary Red The curtains are the streets and houses of Åhlin. Figures are similar to comics. Peter Dalle, a fierce father, can be a limited and angry little monster. Karl-Bertil's expensive mother, Vanna Rosenberg, is able to see the woolly eyes of women as a whole. Little Sickan Carlsson, Little Selma, a little housewife for girls, and a style school. Desperately oppressed, handsome, sweet and smallest handshake.
Read more: DN report for performance
Everyone has a lot to play, and every role has a limitation of past ideological beauty paintings (Fiddle comedy, poor, fnash romance), playing well-trained tunes of old pilsner movies (Lorrystilen).
Andreas Rothlin Svensson creates Katrin Sundberg, a ghostly disordered soloist, with horror film sister Björn Wikström, and is amazed by the Jussi Björling song and makes it look like a lovely lacquered tree.
Most portraits are Anton Lundqvist's Karl-Bertil, a crunchy hairstyle, a strange boy with long arms and legs, reminiscent of intense ventilation.
The first 10 minutes feel weak and ordinary. Even Vnuk's other crazy original comic choreographers do not get the right momentum. I remember my thoughts. Karl-Bertil is not a cool show, but Karl-Bertil.
But Carl Bagges accepts it. Jazz music speed and more sophisticated lyrics and replicas would be better. Karl-Bertils, Tage Danielsson and now all the concepts of Dorsins' all doses are really fun when you face the snowy conditions of this show, the privileged position of the players and the claim of wages. Then the moment holds the scene and stretches the salt. And when we compare the wage gap between Dorsin's Karl-Bertiel time (5 times) and today's (55 times) directors and employees, the old pros also lived here.
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