This means an accelerated pace, but in contrast to the frequent running of doors in the farce of entanglement, it is the past and a web of half-truths and lies, accompanied by a serious water damage, that gives the performance momentum.
In the eye of the storm is middle-aged Marcus (Max Forsman), who has brought a long-awaited jazz record rarity Me, Myself and I, found at a flea market, into his fancy pastel-colored living room. The only thing Marcus wants is to sit down and enjoy the find. But fate wants otherwise and draws the longer straw.
His wife Therese (Åsa Wallenius) has, as usual, visited her psychologist and, for the sake of her own peace of mind, decided to reveal a slip 28 years back in time. She interrupts the upcoming record cooking and squeezes out the confession, which, to her disappointment, does not affect her husband in the least. Until after a while he finds out who it was that his wife cheated on him with. And then the smock hangs loose in the air, because here we spell Marcus’ best friend Paul (Robert Enckell) who (in)appropriately comes to visit.
He is not alone in this. There is a violent run in the house when Marcus’ mistress Elsa (Pia Runnakko), Marcus’ unbrushed and fuzzy goth musician son Sebastian (Wilhelm Enckell) and neighbor Pavel (Sixten Lundberg), who announces that it is raining little by little in the bathroom on the floor below, knock on the door. Marcus’ apartment is being repaired, but the Portuguese black worker Leo (Fabian Silén) messes it up so that a small leak soon turns into a massive flood.
The funniest thing is when Marcus does not want to admit his own relationship with Eva to his wife, despite the mistress’s stubborn nagging. The desperation and lies he waltzes around with are becoming more and more absurd. Max Forsblom’s nervously jerky character in the innermost purgatory of an increasingly lying-impregnated and burning plot is the great benefit of the farce: with gestures and mimicry, he elicits bursts of laughter. He acts as a sounding board for the others who also appear comical, each in their own way, not least Fabian Silén and Sixten Lundberg.
If the first act partly progresses at steering speed and quite a long way is a preparation for the second act, the plot goes into high gear after the intermission. There are verbal tirades and situational comic solemn moments. The farce has its points and gives the actors the opportunity to show off a variety of well-developed comedy talents.