Eye witness to what was going on was the Englishman Christopher Isherwood. It is his novel Goodbye

Musical Cabaret at Uppsala City Theatre Performing Arts contains the best brand. Sin spreads without for that reason leave gravity out of sight. This is a set that should appeal to most theatergoers, writes Bo-Ingvar Kollberg.
Uppsala City Theatre, Main Stage: Cabaret by Fred Ebb & John Kander with screenplay by Joe Masteroff by Christopher Isherwoods book Goodbye to Berlin. Translation: Rikard Bergqvist, directed by Ronny Danielsson, choreography: Roger Lybeck, scenography: Fridjon Rafnsson costume: Lena Lindgren, corrugated cardboard boxes music director: Joakim Hallin, light Jonas Nyström, mask: Angelica corrugated cardboard boxes Ekeberg, corrugated cardboard boxes dramaturge Marie Persson Hedenius. Starring: Sarah Dawn Finer, Francisco Sobrado, Oscar Pierrou Lindén, Babben Larsson Gustav Levin, Eli Ingvarsson, Linda Hill, Accommodations Tulinius, Stefan Clarin, Karim Carlsson, Kitty Chan, Camilo Give Bresky, Kristina Lindgren, Martin Redhe North and Paula Santa Eufemia. Musicians: Mikael Skoglund, corrugated cardboard boxes Svante Söderqvist, Calle Rasmusson and Jan Levander.
It is a shadow world that is emerging on the scene, At the same time, it constitutes a time-image for a short period while the story took a new turn. Uppsala City Theatre continues musical track from the Sound of Music with the set of the not least in the film version corrugated cardboard boxes of 1972 and Lisa Minnelli widely acclaimed Cabaret. It depicts the German Weimar Republic heyday corrugated cardboard boxes and fall of the years around and after 1930. With an introduction where freedom abounded in every sense. Something which then was tightened and simple directed entirely in 1933, when the Nazis seized power.
Eye witness to what was going on was the Englishman Christopher Isherwood. It is his novel Goodbye to Berlin, utkommen Second World War's first year, which is the basis for the musical stage play depicting the turbulent phase. Openness initially applied not least the entertainment and nightlife that made the German capital into a meeting place for all manner of management of such, which is otherwise referred to alleyways, shady basements and meeting places with subdued corrugated cardboard boxes lighting. We who have the answer for what happened knows the future. Europe went to perdition. A collective repression of what took place was a common reaction. Inflation, stock market crash and the battle in the streets between various political factions did their part.
At Uppsala City Theatre's Main Stage is the area around Nollendorfplatz designed corrugated cardboard boxes as a vast toolbox. Production designer corrugated cardboard boxes Fridjon Rafnsson and lighting controller Jonas Nyström using cubes, container-like boxes and a refined lighting built up both Fräulein Schneider Pension as entertainment establishment Kit Kat Klub. They wheeled scene elements with folding walls account for a venue easy to change. The band is positioned corrugated cardboard boxes on top of the constructs. All of it a convenient starting point for the director Ronny Danielsson, who ensured the tempo never droop. This is a show with the help of many decibels corrugated cardboard boxes and uppmickade actor reaches as far up in the pews it goes.
Before the break, the flow is evenly thick, song numbers, dancers, acrobatics and talscenerna succeed each other at approximately the same compressive strength. But in the latter part of the show becomes nuances and accents visible in the director's play interpretation. It is then that all that shabby, which is adhered to the depicted corrugated cardboard boxes time epoch, and that in no small extent also applies to the depicted humans, is expressed. Sure it's a world with a polished surface being imaged. But the lurking disaster becomes gradually more and more obvious. What we are witnessing is escapism corrugated cardboard boxes and an existence filled with doom labeled illusions. Ronny Danielsson has an eye for both the flow of time and for what it accomplishes with people. The most deserving is not the least that the latter never be left out of sight.
Iscensättningens little dumb introduction affects initially even the actors. Gradually they glide though their roles and in this way shows also what talteatern capable at it's best. The most apparent is undergoing such a transformation is Babben Larsson in the role of guest house owner Fräulein Schneider. As she adjusts role to itself, rather than the reverse, increasing both expressions registry and security. Gustav Levin show from the beginning sample of their superb design ability. His fruit merchant Herr Schulz has an emotional viability, which gives the Jewish track an audible presence the whole show through. Oscar Pierrou Lindén's emcee and opening events with both singing and acrobatics as he is lowered from tågvinden. Its important unifying role he mastered with aplomb and clarity.
The roles as Ernst Ludwig and the light-footed Fräulein Kost entrusted Eli Ingvarsson and Linda Hill. With Ingvarsson, the National Socialism for the first time to express that in the end determines everyone's existence. The actor gives his Ernst Ludwig such a modest appearance, is a välfu