Scenrecension: the Engagement is farce in its purest form

Time for Georges Feydeau at the royal dramatic theatre! For two or three years ago there had been a far-fetched idea, not for the French farskungen Feydeau is not to have run on the Modem – quite the contrary – but to the farce, always has been with a undeserved bad reputation. Mimi Pollaks Live ”the flea” at the royal dramatic theatre in 1968, is probably the funniest show I've seen on the Nybroplan. It lives on in many people's memory. Jan-Olof Strandberg was so fast that he met himself in the door.

about fifty years to speak in the same way if Ellen Lamb successful version of another and less known Feydeaufars, ”the Engagement” from 1894. In particular, the second act is theatre in its purest form. The first is more similar to a presentationsrunda, that is to say, one of the unsuitable entrance after the other. It is the farce of logic: the wrong person at the wrong time.

wake up nightclub singer, Lucette just in time for lunch with her lover Bois-d'enghien at his side, unaware that he plans to make up with her and the same night, write during the äktenskapskontraktet with his fiancée Viviane...

Rasmus Luthander is a bargain in the role of the Bois-d'enghien, a pantomimiskt genius that manages to illustrate the panicky feeling of being in two places at the same time.

the Rest we can figure out in his sleep. Rasmus Luthander is a bargain in the role of the Bois-d'enghien, a pantomimiskt genius that manages to illustrate the panicky feeling of being in two places at the same time. The surroundings provide him with several reasons: among others, Magnus Ehrners resonör, in principle, harmless but with a breath that may be all to bounce back at least half a meter.

Far more dangerous is Danilo Bejaranos latinske lover and in contrast to the Rasmus Luthander an example of the farce the opposite logic: understatement. His anger is a ticking time bomb. Others live to just be in the way, as Eric stern's litteratör with its imposing tabernacle and Omid Khansari with his overbite.

in the shadow of these comic displays may be blamed on " Feydeaus notorious misogyni, which does not prevent the Electra Hallman from to put his bold signature on the Bois-d'enghien future; a tomboy in the ”nice” salons.

Magnus Florin and Ellen Lamb has in his processing moved the document to the 30's and deleted a file. Rikke Juellunds set design has the advantage that resemble a kind of spellåda. It is reminiscent of the renaissance " Feydeaus farser experienced after the second world war. The psychological realism with its idea of man's internal had to be supplemented with a view on the blind mechanics. Now it was Jean-Paul Sartre wrote his DN article about Strindberg as a ”situationist”. The great Jean-Louis Barrault had in his repertoire in Paris, both Feydeau, and ”Hamlet”.

as the royal dramatic theatre in stockholm this spring. Hurry up to see Ellen Lamb's contributions and avoid as Georges Feydaeu going crazy in your old age.