Anders Matthesens ‘Terkel in trouble’ started its life as radioføljeton on the P3, but was really allemandseje with the cutting-edge and cross-border anime of the same name from 2004. Now, consider the duo Nikolaj Cederholm (instruction) and Clemens (manus, composer and plays) so that the time is ripe for a musicalversion of the story about the hårdprøvede jack Terkel.
One must assume that the gentlemen have had an underlying idea (in addition to lukrere on an already successful work) to transform the story into a new genre, but if this is the case, manifested itself not on the stage this evening in the Tivoli Concert hall.
Everything that worked in the show, was planket directly from the movie (which by the way was directly retelling the reply of a reply), and the new measures did absolutely nothing significantly good for the case. The dancers were mainly empty spot (and quite unimaginatively choreographed), and Clemens and company new songs has its course directly towards oblivion. They were shown the most with as a kind of alibi.
the Comedian Ruben Chapman and Clement even did it oh well, as Terkel and his friend Jason, but only because they laid so close to those models shall not as is conceivable is possible – including the tone of voice. The same applies to Martin Brygmanns Arne Nougatgren on the other hand, was Thomas Bo Larsen, a pure sign of inadequacy as a pale copy of the iconic Stewart Stardust – not even a full can he play with a whiff of credibility.
in turn, managed komikerduoen Adam and Noah to get something of their personalities in the mobbende Stone and Saki, and Lea Thim in the Past made it reliable as the poor Dorit. To the other hand it was sin, that she had been equipped with a completely superfluous song, which completely took the sting out of the famous selvmordsscene.
Danish celebrity – 21. jan. 2019 – at. 14:31 Matthesen puts insane Danish record
the stone walls had kept a little again with the great theatrical gestures that have become his hallmark (no floating dancers here), but also in a way, as it veered the tedium. Which the inpatients horror elements so perhaps should try to compensate for. It was not successful.
That the inspiration did not exactly have been tremendous, highlighted by the fact that you felt compelled to also just reuse one of the songs from Matthesens latest blockbusters ‘Checkered Ninja’, which as you know have nothing to do with the case. Almost on the contrary.
It’s probably right on its place here to mention that Matthesen at no plans are involved in the musical. There is perhaps here, the main problem lies.
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But now, I just have to contradict myself. For the worst of ‘Terkel – the Motherfåcking Musical’ is actually not the lack of new initiatives – in addition to a little empty talk on social media. It is actually that which you truly have made. Namely, the end. Secure from the recital on the in spite of everything to have an element of surprise up his sleeve. So I must, of course, not divulging it here.
Only to find that it is just as strained as it is meaningless. A foolish sentence for a completely redundant setup. See rather the film again. The holder. Or use the money to go to the cinema and watch ‘Plaid Ninja. Again. The holder. In turn, the hope is just that ‘Terkel – The Moterfårking Musical’ leaving one’s memory as quickly as possible.
It is not outright bad, just totally inconsequential. And this is almost even worse.
