the Idea of a parallel reality is a fun and often rewarding berättargrepp particularly in popular culture. In an alternate universe or an extra dimension is a completely different action to set against the first presenting – contrasting, surprising, eskapistisk, scary, or perhaps a comforting and liberating.
the latter is The case in Lars Rudolfssons new ”Hugh and Nancy many worlds”, with premiers in his own house the Generator. Nancy simply need comfort. On one level, this is a story about an american 1960s talshemmafru in order to survive in life as a married man with a boundless, a boundless time must have a copy of itself to share sorrows with, and get support. There we have the work of moral pathos, with feminist overtones. Then there are many other planes in this multiversummusikal, and it is one of its problems.
with quantum mechanics. Hugh in the play is based on the real-life Hugh Everett III (1930-1982), the physicist who proposed the flervärldstolkningen. It goes out to every possible result of a measurement of an empirical system becomes a reality and creates a new universe – and this, I am not ashamed to have borrowed the explanation of the investigative science journalist Peter Byrne, it is his book ”The many worlds of Hugh Everett III: multiple universes, mutual assured destruction, and the meltdown of a nuclear family” from 2010 as Rudolfsson has based the script on.
the Replicas are laden with information about past events or present over-stated analyses of events
the Everett interpretation did not have an impact (until later years), he worked instead as försvarskonstruktör and consultant within the military and died of a heart attack caused by smoking, alcoholism, obesity, and possibly bitterness. The couple’s daughter committed suicide and the son became rock. Many worlds to tell you about a single dysfunctional nuclear family… and Rudolfsson want to at the same time depict a piece of american history with rearmament, nuclear weapons, a new, free (or sometimes cynical) view of sexuality with swingerskultur and open conditions, and a time of modernity and at the same time, problematic, outdated gender roles, and so on.
not with the. It will be a musical with excessive spoke textmassor. The replicas are laden with information about past events or present over-stated analyses of events and people, instead of the audience may try to make them. The characters stand up and sit down, and talk and talk, in a strange static and stiff contrast to John Engberg moving set design – an at once self-evident and advanced vridscenslösning for a brunorangegrön flervärldsvilla – cheered on by Kersti Vitali Rudolfssons as tidsinspirerade costume. A bearing driver is also the music by Mats Gustafsson and Per-Åke Holmlander: free, challenging, melodic and liveframförd.
The large balance is, however, the meeting between the two strong universe that consists of Helen Sjöholm, respectively, Vanna Rosenberg in the double role as Nancy. Where the beats hot sparks in both the game and the song. Further your own little world is Emma Broomé, that her daughter, Liz, who almost alone carries some scenes with Janis Joplin-energy and pain.
Read more of DN’s current scenrecensioner here.