MUSIC | REVIEW. Take Danielsson text, Henrik Dorsins processing, and the cartoonist Per Åhlin himself with a watchful eye on production. What could then be wrong with "Karl-Bertil Jonsson's Christmas Eve"? Even when the curtain is pulled out on the scalateater scene and reveals the frosty back street that everyone recognizes, the crowd clings hands with delight. And no wonder. Here, someone else has watched the film every year since 1975, when SVT gave it the first time.
After the usual saxophone intro, a warm-hearted and musical tribute to the beloved folk-house story. The rolls like bumps over the scorch floor with soft knees, just like the movie, and like much else here, one has to thank the director and the choreographer Anna Vnuk for. One only loves the mother's silly entrance on Christmas Eve morning, with glitter in the hair and a candlelit tray (Vanna Rosenberg). Not to mention Tyko Jonsson's red-hot rage outbreak on Christmas Eve, already legal because he gets disturbed in front of the TV movie (Peter Dalle). And then Karl-Bertil Jonsson's fast-paced lifestyles, his wonderful Christmas project (Anton Lundqvist).
But I'm mostly stuck in Andreas Rothlin Svensson portrait of the drunk family father in town. He embodies the stretches of seriousness about social injustice that makes this story and film much more than a fun half-hour. "Go home to your poor family".
For processing and song lyrics Henrik Dorsin, which also serves as the link to the audience, the happy Christmas values that are going to offer something special. He is the narrator and has included his own contemporary comments in the lyrics, for example, which are the rich knots of our time, or what would resurrect Tyko Jonsson, the father of Karl-Bertil, if he lived today ("important politicians who take goodness ").
But above the show, there is also a real mood of Noren-Christmas. Lillasyster (Katrin Sundberg), which quotes difficult accessible poetry instead of julrim, thinks parents should be separated. Vanna Rosenberg's "sore mother" is on the verge of a nerve collision. She does not have many replicas, but the richer body language, and a chanting song where she with sudden anger calls for the children to peel: "see you, thank you, unhappy." It's a somewhat unexpected deepening that I like but does not really have its equivalent in the other performance. One way to land her outbreak is through the finest Monica Zetterlundska the ballad "Fall Snow", about the blessed snowfall that "bumps our world" (and dampens her anxiety?). That scene is about real. But some songs are disturbing. They could have ironed a few in favor of spoken dialogue – this is an ensemble where most are primarily actors.
Having said that. Calle Bagges music and Henrik Dorsin's lyrics wander in Hasseåtage's footsteps, with the same musical preferences. It's eclectic, language-proof, nostalgic, elegant and fun.
A funky musical
"Karl-Bertil Jonsson's Christmas Eve" is a cool and warm musical with satire about social injustice, intrigued expectations of Christmas and insane commerce. But then it's the Christmas gift that the audience gets at the end: Varsin paper box that contains a crown to give to someone who really needs. Then I think of what Dorsin tells the story: a director at Karl-Bertil Jonsson's time earned five times more than one worker, while today's directors earn 50 times more. I'm getting gloomy at the thought that everyone puts their crown in someone else's paper mug and then does not think more about that thing.
Karl-Bertil Jonsson's Christmas Eve
After Tage Danielsson
Processing and lyrics Henrik Dorsin
Music and chapel Carl Bagge
Director Anna Vnuk
Scenographer Pelle Magnestam
Costume and mask Susanna Rafstedt
Production Design Per Åhlin
Scale Theater, Stockholm
Playtime 2 t.
Gunilla Brodrej is a critic and stage editor of Expressen Culture.