It will be neither the speech of patricide or föräldrauppror when Eva Bergman for the first time takes on a father and Ingmars work. Rather, it rests slightly outdated, and oförlöst of ”Fanny and Alexander”, the show that would seal the Bergmanåret in Gothenburg with a bang, and not a peep.
Still, the Eva Bergman thrown the family ekdahl's beautiful julkalas a few decades forward in time, from the c to 30 (unclear why) and kvinnorollerna has been increased significantly. It is the women's evening, and probably there's a flash of Mia Höglund-Melin in the role of Fanny and Alexander's mother Emilie. The spider in the web is grandmother Ekdahl (Carina Boberg) and around her spinner Carina M Johansson smart, stronga Alma and the unconcerned, Lydia (Ulla Skoog). The baxar their puny men under arms; the brothers Ekdahl as in filmförlagan oppress and seduces has here been toned down. Sven Åke Gustafsson plays the failure of Carl as a miserable boy, whose nasty which thou are not immediately one and the Eric Ericson play kåtbocken Gustav Adolf, in the absence of real power, of both desires and women.
a more powerful matriarkat has a different main ingredient has been added: music. The drive to the Backamusikerna, Eva Bergman worked with since the 70s, sitting as usual on the scene and pushes the plot forward, mainly with jazz's help.
It rests upon some simple and held back over the family ekdahl's christmas eve. Tofte Lamberg set design is simple, red velvet drapes frame the bourgeois home, the scene to a slice of cake, a womb, if one so wants. Here ringdansas, julpruttas and tjyvnyps it healthy, Ekdahlarna is teaterfamiljen living the good life in the hustle and bustle of the city – and, as later contrasted with its absolute opposite: asceticism in biskopshemmet. Then the third brother, the theatre manager Oscar, dies, his wife Emilie of sanningstörst beyond the theatre förställda world and marries with the bishop Vergérus (Jakob Eklund).
the main components are missing in the set. The darkness and the magic. Probably makes a little bit of jewish mysticism entrance, a short magical peak during the smoke and teaterblixtar. In addition, the divers death a little vilset out from a curtain at one point, but backs right back again. A little play with the Bergman of Bergman. But without the blackness, beyond the teatervrål and laughter, melts the replica and act as the brittle snow without weight. A maskspel in maskspelet. It had been metateater, but echoes the now mostly empty.
”Anything can happen, everything is possible,” wrote August Strindberg's ”A Dream play”. The words can also end the game's last act. May be so, but not tonight. This required the invocation of the magic of the higher dimensions to the idea to lift.
Read more: ”Fanny and Alexander” at the Old Vic in the Big London.