Stage: "The Anxiety" at the drama under the direction of Pernilla August

The guy is frozen, wants to be kofta, wants to listen to Beethoven, wants to do the work, that is to say a series of interviews that his youngest daughter will do with him, but can not get away with it. In addition, he does not always know who she is or with whom of his wives she is a girl.

Anita Ekström plays Aging demon director on the small stage of the drama and she is terribly good. There is something in her that goes back and forth between extreme insecurity, sudden anger, blurring and cross-fatigue that can not be exhausted. It causes so much love and nervousness, but it is especially amusing by its precision, its rhythm and its blooming.

It's a challenge to give a physical life to a tissue of feelings and thoughts as introverted as Linn Ullman's autobiographical novel "De Worst". There were shaky drawings and precisely the contours of three troubled souls: the great director, the emotional actress and the intermittent girl, fruit of a passion for work, an abandoned work of art in itself, who almost never saw them together, but exchanged between their separate planets.

Director Pernilla August creates an advancement by highlighting the dead humor of Linn Ullman and reducing his poetry to a minimum. First of all, I am troubled by the almost beautiful and decisive way of Rebecka Hemse. It is obvious and necessary that Ingela Olsson manufactures Liv Ullman without trying to look like the famous actress and that Ingmar Bergman is not interpreted by a man in baskets. We have seen them so often that it scares the eyes. But she, the girl, the body behind the beautiful language of the novel, I wanted to see more personal style.

But finally, the tone of the comedy becomes more dominant and then it works much better. The best is Hemse when she reacts to what is going on around her. She makes her face shine like a silent film comic and lets the audience feel when the two thugs of the two self-confessed parents have almost thrown their daughters on the heart. And laugh at the hottest moments. Like when the girl asks a demented little daddy if he can talk about his mother and that, suddenly animated, he tells in detail their first meeting at the concert hall. It's just the bad mother.

The image of the scene is elegant but perhaps not so relevant. White gradient in the form of benches with lots of drawers that come and go and contain the few supplies needed. Not so different from the scenography of Sören Brune to "A Sea of ​​Kaspar Hausrar" at the Theater Court a few years ago, but less integrated into the drama. Once in the middle of a tragicomic scene, big inflatable trees escape from the boxes. Comic Relief is fun and necessary, but you do not really know why the scenography explodes here and not elsewhere.

What they three The actresses have striped pajamas in the series, however, it gets really good. They seem to meet in the rubble of the night. Remember each other more clearly in the waking period. It's a pajamas that suits both a stunned girl and an old man walking as a child.

The performance begins cautiously, almost timidly confusing between fragments and situations and scenes between mother and daughter, where the director is not present becomes a bit heavy and long. But towards the end, Olsson and Hemse Dotter / The author play and it is necessary to balance the magnetic charisma of Ekström. They try to dialogue with him, ask questions of conscience, want to take care of the bad uncle, but also, in vain, by extracting answers. It's sad and comical and musically arrogant and gives all the scenes that preceded a new meaning, as if they were right all the time.

Read all reviews of the DN scene right hereamong others "Mediocre trap" at the municipal theater of Uppsala.