having previously dealt with the fictional and literary figures as Proponents, Ayn Rand and the Microbe, it has now become time for the director Carolina Kinsman, and playwright Joakim Stone to get to grips with the phenomenon of Sherlock Holmes. The result is, hardly unexpected but equally full of refreshing, a settlement with both vithetsnorm and cultural impact of the inflated confidence in own analytical ability, and the idea of the genius as such.
Here is the Belgian exploitation of the Congo and the racism inherent structures that are put under the microscope, or rather a magnifying glass. For even if the Kinsman, and Sten’s main purpose is to put your finger on the hidden power structures, they give us a really juicy story that wallowing in the mysterious details and sudden death.
such a pop-loaded figure of Sherlock Holmes creates expectations. But this is no cause for concern. Charlotta Nylund has released all of the dams in the creation of costume and set design. Here gottas in the gothic and visually stunning environments where there is an eternal mystery, and the rats fleeing the ficklampskäglorna in the sticky sewers. All the while the output of the costumes excel in skotskrutigt and paisleymönstrat in a whole array of umbrellas in the constant regndränkta and misty London.
It is a world of and for men where the Kinsman consequently, the set of women in several male roles. Maria Sundbom captures the Sherlock Holmes with restless energy, his hair on end and an enviable disträ cool. But how much her Holmes than taste and sniff out among the clues includes his fabled powers of deduction are not the own role in the power games.
Chistopher Lehmann as doctor Watson and Maria Sundbom as Sherlock Holmes in ”Sherlock Holmes – the white heart”. Photo: Markus Gårder
instead, the eternal sidekicken, doctor Watson will be the insights with unexpected help from the Simon Rodriguez and the Per Öhagens as lovable as odd gansterduo, the extravagante Turner and the formidable Waterhouse. Of Stone, Watson has its own roots among the african the thickness of the enslaved inhabitants, and Christopher Lehmann gives him a resistance which, in line with the understanding about the colonial ongoing cruelty, grows from the mild quips to a more all-embracing anger.
Holmes has in the end played out its role and we are left with the feeling of having seen something which plays a crucial role than in the day.
Read more reviews from Anna Håkansson here
