Review: På fullt allvar

Sarcastic fireworks
in pastel landscapes


Oscar Wilde (1854–1900) was not only raised to the skies for Dorian
Grey’s Portrait, the book that has opened the doors for almost every young person
to life’s big aha moments. No, Wilde was also a giant in
theatre and of his four comedies is considered to be The Importance
of Being Earnest) as the wittiest and at the same time the most quoted
English play based on Hamlet. This noble stallion in the
salon comedy stable, which is now being shown under the direction of Neil Hardwick at Lilla
The theatre seems as relevant today as when it was written in 1895, full of
bitingly sharp witticisms, sarcasms and aphorisms, with the edge directed at
Victorian society in general and the upper class in particular.
The whole setup is as clever as it is unexpected and the plot is surprising
with turning around his shoulder several times. It’s about the two
wealthy young men and friends Algernon Moncrieff (Sampo Sarkola)
and Jack Worthing (Pekka Strang), who are united by the inhabit of
with a made-up friend that they blame to avoid unwanted social
contacts.

At the same time, both are in love with their respective adorable young girls, who
strangely enough is fully convinced that Ernest is the most beautiful name
a young man can have. (The English pun on “earnest” in the sense of
“serious” and Ernest as a name unfortunately falls away in the Swedish
version). Just as unbothered by telling the truth as doing something
useful, the young men have quickly drawn for the ladies of their hearts
waltz that they are also called Ernest. This is where the trouble begins.
Because of his suspicious ancestry, Jack is prevented from marrying
with the sweet Gwendolen (Cécile Orblin) by her dominant, to say the least,
and overly suspicious old mother, Lady Bracknell (Birgitta Ulfsson).
Jack is also not happy that his friend Algernon is courting his
guardian, the charming young cousin Cecily (Edith Holmström).

Sarcasms with style

Then it doesn’t go any better than for the lie to be turned into truth and the whole thing
ends happily. But before that, you have the high pleasure of experiencing one of the
The theatre’s most dense, well-written, stylish and witty text –
Completely crammed with sarcasm, subtlety and fun.
And if not before, then at the latest when Joachim Wigelius enters the stage with his
priceless interpretations of two completely different, but equally wacky
servants, one’s thoughts are taken to the English comic
the uncrowned master of literature, P.G. Woodehouse, who also knew how to
banging the nobility so you cry with laughter.

Skillful play
in pastel

The same goes for In All Seriousness. The fun comes so often that
There is a risk that you miss some. Two further factors increase the
The great must-see theatre experience of winter and early winter. That’s it
skilled acting, and set and costume designer Kirsti
Kasnio’s deliciously pastel-toned set design with flamboyantly stylish,
matching clothes. The sugary elegant tone of voice rhymes with both
with the comedy’s test wonders in the garden and the play’s whole soul.
The comedy borders on the farce, but In all seriousness it is as
genre miles away from the simple and often clumsy solutions of the bush. However,
With all seriousness, is the parade victory of refined comedy. Not least
the radar couple Sarkola-Strang’s comedic talents are in full bloom. The duo
responds with his suggestion for some bomb-proof caricatures of two blasted,
spoiled youths. With his unabashed contempt for the inferior
social class, they rule unrestricted over both capital and fixed
but are at a loss in the face of love.
<BR<
Edith Holmström and Cécile Orblin make two elaborately delicious portraits of
noble women, who, under their seemingly sweet outward appearances, also
has skin on his nose. And despite their young age, they have already
developed a formidable ability for interfeminist intrigue.
Tom Wentzel’s jovial, helpful and cold-ridden parish figure is
also very good, while Pia Runnakko in the role of kind and well-meaning
The governess also holds the key to the entire dissolution of the play.
Joachim Wigelius ‘ blazed butler roles are, as I said, costly
and the same applies to Birgitta Ulfsson as Lady Bracknell,
an amper, self-confident old dragon, as accustomed to dominate big as
to be obeyed. Or as Jack says to Algernon after the first meeting
with the Iron Lady – a woman so incredibly similar to a monster but without being
mythological.


In all seriousness , it should be mandatory for everyone with a taste for farce
and verbal acrobatics. A wittier and more intelligent salon comedy
you have to look for.