It is an expression that is printed on mugs, t-shirts, fabric bags, mobilskal, aprons, mouse pads, key chains, friendly, ölsejdlar, dish-cloths, socks, champagne glasses and resourceful images abundant strösslade all over the internet. It is also Jonas Gardells new stage show. The title ”Queen of fucking everything” sits as a strassglittrande tiara with rubber bands on a snaggat head. Very high recognition, visdomsordsvitsigt and larger-than-life-existential.
And of course he does, reigns over all things. During more than three decades, he has become very popular provocateur, poetic preacher and samtidshistorieskildrare in mellanmjölkens country by writing novels, plays, poems, song lyrics, movies, tv series, ståuppföreställningar and shows. Now we get to the last scenshowen, it is said.
Jonas Gardell has decided to speak to his people (and better-than-good-singing). It is time. It is Donald Trump, Brexit, the climate threat and a divided country that is forcing him out – he enumerates all the deppigheter with the one closest to the fnissig energy. Now, we need love, tolerance, joy and courage.
he is Therefore on regnbågsjackan on top of the black t-shirt with the text ”I love gay porn”, and fills the Circus with a large ensemble cast of singers, dancers and musicians. Backed by dragshowdans in enhörningsfärgade metallicpaljetter and superhjälteklackar he sings on ”what we gays have always known,” in öppningsnumret ”Life sucks then dance the disco”.
a long (yes, sometimes it feels a little too long) series of musical selections and ståuppmonologer, alternating with each other. Chlorine is written by Gardell, a part of the music is written by Fredrik Kempe that Gardell has worked with before, a part of the Gardell, together with Johan Lyander and a part of the Ulrik Munther, the artist known from the Eurovision song contest has released an album with texts of Gardell.
Munther is also involved in the scene in several solo, and becomes a mirror of the pojkaktigt sad side of the Gardell. In general, it is showigt, danceable, musikaligt and catchy in the moment but nothing that sings on in the head afterwards – well, klezmerdoftande dödsmotståndsvisan ”Live a little” has a mood that linger. But all in all it is ögonblicksmusik, living with his theatrical expression.
Gardell itself really lives on the stage, he is the one such that with its sheer presence and the intense contact to the audience portrays all of the human need for love and confirmation. One of his talents is to marry together the conflicting moods and make impossible transitions obvious. He’s talking bebisspråk, roars away, pulls the filthy jokes with ugly faces, heckling politicians, and famous men, and so visktalar he with The Important Voice about Life and Death, and we listen with pricked up ears and nods. The one who can show himself really vulnerable on the stage can become a skilled publikdomptör. Suddenly, he has fooled the entire audience allsångsköra the word ”fucking” in titelnumrets chorus.
nothing wrong with the Gardells performance and delivery in komikdelarna, but how is it with the material? The self-referential becomes sometimes repetitive, the wide sometimes gets too flat. A far too long sequence dealing with, for example, various Swedish orters turistbyråslogans, all of the open goal and made before for this event. It’s best when he talks about death, childhood, fejkimiterar their mother and okay then, tell silly stories about her husband.
There is a lot that needs to be accommodated, all of whim place. Three grankostymer with a small bird at the top? Yes! A vaktparad? Yes! If or how it goes together I’m not really convinced, but it’s also not a show that strives to be balanced: ”When others complain loudly: Who do you think you are? Answer to the queen of fucking everything is here!”
A cohesive stroke of genius is still scenrummets mighty hand painted decor. Artist Martin Jacobson has painted backdrops with their devotees and theatrical landscapes. Manic colors among the pine and birch, kitschskimrande the sky and the spring she held to become a both dreamy and mardrömsk setting to Jonas Gardells the evil and the good storytime.
