Give your opinion on Karl-Bertil Jonsson Christmas Eve | Scala Theater

Music | EXAMINATION. Take Danielsson text, Henrik Dorsins treatment, and the draftsman Per Åhlin himself with a watchful eye on production. What could go wrong with "Karl-Bertil Jonsson's Christmas Eve"? Even when the curtain is out on the stage of the scalpeater and reveals the frosty alley that everyone recognizes, the crowd sticks to their hands with delight. And no wonder. Here, someone else watches the movie every year since 1975, when SVT was giving it for the first time.

Soft knees

After the usual intro saxophone, a warm and musical homage to the beloved story of the folk house. The rollers look like bumps on the hot floor, soft knees, like in the movie, and like many other things here, you have to thank the director and the choreographer Anna Vnuk for. We only love the silly entry of the mother on the morning of Christmas Eve, with glitter in her hair and a candle tray (Vanna Rosenberg). Not to mention the outbreak of Tyko Jonsson's rage on the eve of Christmas, already legal because it is disturbed in front of the TV movie (Peter Dalle). And then, the quick lifestyles of Karl-Bertil Jonsson, his wonderful Christmas project (Anton Lundqvist).

But I'm mostly stuck in Andreas Rothlin Svensson portrait of the father of a family drunk in town. It embodies the seriousness of the social injustice that makes this story and this movie much more than a fun half hour. "Go home to your poor family".

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For processing and lyrics of songs Henrik Dorsin, which also serves as a link to the public, the joyous Christmas values ​​that will 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 amount to resurrecting Tyko Jonsson, Karl-Bertil's father, if he lived today ("important politicians").

Ungjävel

But above the show, there is also a real atmosphere of Noren-Jul. Lillasyster (Katrin Sundberg), who quotes a difficult accessible poetry instead of julrim, thinks that parents should be separated. The "sore mother" of Vanna Rosenberg is on the verge of a nerve collision. She does not have many replicas, but a richer body language and a singing singing in which she calls with sudden anger the children to peel: "see you soon, thank you, unhappy". This is a somewhat unexpected deepening that I like but that does not really have its equivalent in the other performance. One of the ways to attack her outbreak is to go through the best Monica Zetterlundska the "Fall Snow" ballad, about the holy snowfall that "hits our world" (and alleviates its anxiety?). This scene is almost real. But some songs disturb. They could have ironed some of them in favor of the spoken dialogue – it is a whole where most of them are mainly actors.

That said. Calle Bagges The music and lyrics of Henrik Dorsin wander in the footsteps of Hasseåtage, with the same musical preferences. It's eclectic, language-resistant, nostalgic, stylish and fun.

A funky musical

"Karl-Bertil Jonsson's Christmas Eve" is a warm and satirical musical about social injustice, intrigued Christmas expectations and insane trade. But then it's the Christmas gift that the public gets at the end: a Varsin paper box containing a crown to give to someone who really needs it. I then think of what Dorsin says: a director of Karl-Bertil Jonsson earned five times more than a worker, while today's managers earn 50 times more. I become sad at the thought that everyone puts his crown in someone else 's paper cup and no longer thinks about that thing.

Gunilla Brodrej is a critic and editorial editor of Expressen Culture.

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