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After a short walk of the commuter train, the whimsical building appears at Jonsered Manor. On the slopes behind the building, there are 600 outdoor fans and a small stage built between lush oaks and rose bushes. It's time for the first premiere at Claes Malmberg's Jonsered Summer Theater. First of all, it is the journal of numbers. The fantastic trip to The Good Old Days, a compilation of musiknostalgi and jokes on current topics like the Swedish Academy and gender identity. In the center, Malmberg himself, accompanied by singer and jester Jan Malmsjö, is the main retreat of the night. The small ensemble also includes singer Hanna von Spreti and revivalist Eva-Lotta Bernström.
The Malmberg public and its intense monologues combine the other independent issues. Although many jokes are more than used, Malmberg's sure talent and vana improvisation evoke a good mood and lots of laughs. Even the song numbers are surely played and skillfully composed by a trio led by Benneth Fagerlund. Particularly playful and impressive is von Spreti's performance of Itsy bitsy teenie weenie in which she imitates a striped record. Sketches hold an odd level, and come from several different pens. But the naturally comical games of Bernströms and Malmberg often make a material that leaves much to be desired.
The setting of the magazine is the good old days which is marked by the beautiful art deco tapestry of the scene and the setting of the 20s. Otherwise, it is especially in the choice of the music as the frame becomes noticeable. The pre-war A Nightingale song at Berkeley Square takes on its local character in von Spreti's magnificent chant, A Nachtgal Lake, at Jonsered
The choice of subjects are all the more current, with a focus on gender issues. As a journal, gender issues often end with pure sex, as when Malmberg fights for everyone on the whole to be able to identify with the genre he wants, and that 39, he identifies himself today with a great genre. The focus is on relatively long and relatively innocent phenomena such as mutism and manslaughter, which is dedicated to each song. A song about cultural profiles acts as a beverage to each other for the typical Revyhumor motif, namely popular kicks against fine culture. Frijazz is a mess, the linguistic research is trams and the Swedish Academy is not as remarkable as they think.
Jan Malmsjö has already cooperated with Claes Malmberg under similar circumstances, including Charley's aunt at Gunnebo Summer Theater. Just like that, he also presents a selection of his extensive repertoire, from Under All Bridges to Snurra My Earth, which he says he sang for the first time at the Gothenburg City Theater in 1958. The dignity of 86 years still keeps the voice and attention in memory, and it is not only because of its legendary status of Snurra that my floor is greeted with the longest applause of the night.
Malmöjös stjärnglans gives the little extra to a performance that otherwise meets the expectations of a summer review but fails to surpass them. But with the singing, the evening sun and a sparkling lake, there is still a crowded summer atmosphere at Jonsered
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