Enough, it is a real bokslukardekor been before the nordic premiere of ”Matilda” at the Malmö opera. Books in stacks, wings that open like real bladvändare and Marianne Mörck as the mormoderligt supervisory librarian mrs Phelps. For Roald Dahl’s children’s book from 1988, about the miraculous Matilda who devour literary classics in the same rate as other kids nibbling some sweets, hit the also a kind of power of power of stupidity. In Dahl’s world, it is, as so often in his books, the adults who behave like children, while the children are the adults in the room. The exception is the Matildas sweet skolfröken Honey (Linda Olsson), as in the Jonas Forssells hard-hitting Swedish translation stresses the importance of ”kindness, patience and respect.”
the Antagonist is the buffliga, barnhatande principal Agatha Trunchbull. Dahl has sometimes received criticism for his portraits of women, where the sweet of the rule is the good and the manhaftiga portrayed as monsters. In this british musical from 2010 by Dennis Kelly (screenplay) and Tim Minchin (music and lyrics) is also made Trunchbull of a male singer, here is a upgrade and fearsome David Lundqvist. But first and foremost, it is about an evil and maktmissbrukets archetype. As such, Dahl’s portrayal of anything that worked great. When introducing last year’s trettioårsjubileum of the book ”Matilda” decided to erect a statue outside the author’s former home in Buckinghamshire asked the public about who the little schoolgirl would be likely to confront in the day. Not surprisingly, the choice fell on president Trump.
Matildas mom, it’s hopeless våpet mrs. Wormwood, who is only interested in himself and his dance partner Rudolpho. Mr Wormwood (Michael Jansson) is in turn a con-man to car dealer who bully his daughter Matilda, and think the tv is worth more than a thousand books. Many times is not only the tyrannical Trunchbull, but also this ungrateful parents a study of the Brothers Grimm-grim storytelling style. The belief in the good literature of course is fraudulent in itself, not least to Dahl himself of the various reasons, received the epithet of ”Roald the Rotten”. But ”Matilda” is, after all, a fairy tale and as such it works superbly even on the scene.
Musikalformen forces possibly until some of the unnecessary vuxenpoänger. But Minchins music switches nicely between the Matildas (at the premiere the a plucky Matilda Gross) solosånger and skoluniformerade ensemblenummer with both children and adults musical theatre that Oscar Pierrou Lindén and Kitty Chan. The alternating barnlagen have drillats in the ”Matildaskolan” – a collaboration with Malmö kulturskola – three times a week for a year with impressive results. It is not often you come home from modern musicals and could hum the poppigaste the beads. The sound reminds a lot of a certain addict of Pink Floyd, not least because of the towards the end the rebellious school choir.
gitarrutvidgad wonderful Malmö opera orchestra with both sparkle and edge. The team Elisabeth Linton (director), Miles Hoare (choreography), Astrid Lynge Ottosen (costume) and Palle Steen Christensen (set design) has created a well-functioning whole, complete with spökskrivande chalk. It is said that a fairy tale, but also a beautiful song of praise to language, books and education. What in the end makes that Matilda can solve the diplomatic familjekrisen with the Russian mafia, and live happy, the adopted son of the school’s new principal, the former aggrieved miss Honey.
