Scenrecension: Backstage is witty and spot-on – but never seriously

the Chairs are in a circle on the grey floor and blends with the gradängerna. A part of the audience ends up there, almost as part of the staged pjäskollationeringen.

It is the first repetitionsdagen of ”Richard III”. Geniregissören (Ericksson) to put it up. The film star (Säterhagen) will play the lead character. Working (Kovács) is in the lugs, and winding in and out of the repetitionssalen as a handsome snake, takes Instagrambilder, and poureth them casually oil on all the feelings that are rising up to the surface.

the other actor (Wahlberg), who only now finds out that the lead role has gone to star. Then from the actress (Widéen) that will be playing Lady Anne, equally badly affected by skådespelarbytet she, because of what happened between her and the Star at the end. What he calls their adventures, but that makes her nausea, only he comes close. That Lady Anne should spit Richard III in the face fits her well. But when the Director wants her to combine her deep hatred with the horniness becomes too much. It is also here somewhere the first eased the laughter will.

It's all about #tystnadtagning, metoo, abuse, but all of it is a small, discreet step into the absurdismen. Shakespeare becomes genikultens last, desperate outpost. The theatre appears to be a mix of an insane asylum, a kindergarten, a meeting of the municipal council and a pundargräl on the Plate. Phrases such as ”I have made the theater more times than you have sucked cock, and it does not want to say a little” mixed in with such phrases as ”problemformuleringsprivilegium”.

When the director's assistant (Marko-Nord) proposes that they do a documentary instead of chewing the director of the froth. His creative area is shrinking by all the political correctness. ”In the end, he has only a postage stamp to stand on,” hisses he, while all the paws around him.

clever, accurate and välspelat. The claustrophobic consequences of the adage ”the show must go on” becomes clear. But the balance of as the comedy comes is that it does not feel so much. It is a perfectly reasonable stance to the topic, but #tystnadtagning manifesto was heartbreaking reading. An ”Integrated”document of how artists live trapped in a sexual reality show for others entertainment. A little difficult is it anyway to understand why it is not taken the opportunity, when the man now opened the room to the repetitionssalen, to let it be serious.

the Whole burden of proof ends up on Åsa Widéens shoulders. The more the others the tempo is powered up, the slower she moves, and the quieter she becomes. She indicates the vague illamåendets paralysis in every breath. It makes her good, but it gets too lonely. Absurdism and realism take each other out and leave behind a remarkable emptiness.

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