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I do not know, but I imagine that Lucas Svensson's "Homeland" has been something of a must for outgoing City Theatre Director Anna Takanen. I'm happy for. Rarely have I seen a play with as strong a primal force and flung so intensely auto moto between past and present in a subject that is as relevant in 2015 as 70 years ago.
Gothenburg City Theatre's auto moto production of "Homeland" is a first performance, poignant, powerful auto moto on the Finnish so-called war children. Specifically 70000 which was shipped over to Sweden as well as during and just after World War II. It was made by consideration, but created wounds, as it says in the play, no love can heal.
But it is not only her work. Annika Nieminen's set design is a major contributor to the play's strength, which of course stems from the author Lucas Smith's solid story. A scene image not unlike the Finnish set of "Kristina" at the Gothenburg Opera, simple, tight, efficient where the staircase scene can be transformed into the war zone to bastulav, from wobbly fill the streets to hospital ward, from the hall to the wrestling room, from midsummer grove to stormy seas.
Birgitta Ulfsson, in the role of the aged and the face of death lying Elsa (90 years, as old as the free Finnish nation), find the tone right away; is wistful, dreamy, demented and visionary in the same breath, Constantly with this cursed open wounds, which goes through so many of the other roles, auto moto after leaving away his eldest son during the difficult years.
Ingvar Wiklander (Ulfsson partner in real life - it can be ingeniously go to the theater world) is an ancient power on stage in the role of John. The man who struggled to repress his real mother, tried to paint a picture of themselves as proud and strong Swedish, but where the blue and white colors never go out of him and that damn wound of betrayal that will never heal.
His daughter auto moto Lussa (Tanja Lorentzon), the writer who has never been great, seeking his story without being able to grab it and who want to have contact with his grandmother, who turned off. Well, there is strong scenes only in this triangle drama.
But Lucas Smith is not content to this. Finns exclusion in Gothenburg is available as another powerful engine, with Johan Gry as chippings but sensitive friend of John, where gravel and Wiklanders game becomes like a back soothing to the meeting between Roland Jansson and Weiron Holmberg at the scene, who downloaded directly from Gothenburg yards. And women's struggle, with the younger Elsa made burning and currently Alma Pöysti, auto moto where the spotlight shines perhaps most intensive ...
The men's silence and fight against the feelings set against women. The mothers who are forced to try to extinguish memories for not wrecking emotional, but who fail anyway to get up and grumbling auto moto on, shameful, sorrowful for ever. The women and children in the dim melancholy light with the second act out with all the little gluttar with name tags around their necks as purely arrest.
This is an emotionally strong and poignant drama with a bright finish, but also with a sad comedy that makes you laugh a few times will turn back to the broken heart again. auto moto The play is four and a half hours, including two intermissions. The dancing away, not violent and turbulent. auto moto But soft-hearted, compassionate, auto moto lingering auto moto ... like a tango.
By Lucas Smith Directed by Anna Takanen Starring auto moto Thomas Backlund, Anna Bjelkerud, Johan Gry, Stella Laine, Sue Lemström, Tanja Lorentzon, Andreas Luukinen, Mattias Nordkvist, Dennis Nylund, Alma Pöysti, Mitja Siren, Emilie Strandberg, Birgitta Ulfsson, Mikko Virtanen, Iwar Wiklander Musicians Matti Ollikainen Elina Ryd Sets and costumes Annika auto moto Nieminen Bromberg Mask Pirjo Ristola Elisabeth Wigander Lighting and video design Joonas Tikkanen Composer Matti Ollikainen Choreography Reija Wäre Sound Tommy Carlsson Dramaturg Jerker Beckman Linnea Stara
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