If you have two actresses as Maja Rung and Ruth Vega Fernandez at his disposal so you might just have to put up ”My great friend” after Elena Ferrantes great novels.
Then it probably is. For from the first moment, when the two girls wilfully throwing each other’s beloved tygdockor down in the gangster king Solaras threatening källarmörker, it is the two, with his absolute friendship, and the sharp rivalry that have mastered the scene.
Two brilliant actor, completely different from each other, but as between Lenù and Purple seems to something in their inner silent cry out to the other, regardless of what is going on between them on the surface. It is quite wonderful to see. Maja Rung as Lenù sensitive recording all the Purple makes and can – enviously admiring, uncertain, both on his body and on his mind, softly stubborn. Ruth Vega Fernandez has the strength, the blazing intelligence, but also the fury and the self-destructive, which makes her dangerous, mostly to himself. Together they give us on a dizzying ride. Their thirst for knowledge and desire to take control over their lives becomes a feminist the panorama of our time.
it is impossible to bring over Elena Ferrantes the entire suite, four books, to the stage: How to get a theatre audience to experience the girl, the woman, the mother, the author Lenù Greco’s life from the inside, see the world through her eyes, living through her and Lilas development in Naples/Italy machosamhälle half of the twentieth century?
Not surprisingly, it becomes too long and awkward at times, especially at the end where de Angelis dramatization should both be sealed and straightened out. But Maria Sids safe, detailed, and directed to keep up the tempo and gives Lenús observations and reflections body on stage at the impressive many resourceful way.
In Zofi Lagerman’s ascetic set design with only a staircase and a few white screens fit both the worn hyreskvarteret, källarprången, kitchen, classrooms, and squares. A bare, hard fund, which is sometimes open to the sea.
Catharina Allvins choreography will the changing spirit of the times into the scene. Sometimes in the tender operation with dansstilarna in the poor neighbourhood parties, or when gangsterbröderna Solaras, with a småfarlig Peter Gardiner in the lead, makes his entrance with the long leg before. Sometimes just as well-synchronized in the small gestures of the male or female approach in line with the a new time.
Fixed the lead roles are women rests the gaze of the other most of the male
and the composer Liro Rantalas music becomes a free-floating, tender and raljant comment to the game, while the old schlagern ”Come prima” gives local color. The famous Italian machismon is nertonad in favor of a more general (or Swedish) tuppspel as much fun especially the female audience.
but the lead roles are women rests the gaze of the other most on the male. Per Sandberg as gangsterbossens heirs of Michele Solara is a cruel and salacious ruler with a oförlöst internal. Pablo Leiva Wenger Rino is concerning pliable in his lillebrorsberoende to Lina. Disguised hot rays out from a man as Henry Norléns Stefano, and Ole Forsberg’s easy stealth poet Donato Sarratore is, admittedly, a durkdriven seducer, but not without emotion.
Sylvia Rauan as Lenùs mother stands with brilliant timing the nose in all her daughter’s doings. Astrid Assefa as a press photographer do satire, with just a little tonartshöjning.
Nino Sarratore, the both Lenù and Purple love and are fighting for in the whole story is in Frederick Lyckes lanky stature both yes and no all the time. Weak-willed and genomfalsk in his aimlessness the personification of he fun a male cliché.
To the style of play belongs to the actors put their characters with a revealing outline of the exaggeration and coquetry. It is cleverly and entertaining, but perhaps too much to do sedesskildring rather than samhällsdito of Elena Ferrantes all-encompassing story.
Read more scenrecensioner from the DN of the Culture here.
