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this is the kind of modern art I love….

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MUCH ADO ABOUT NOTHING, The Stockholm English Speaking Theatre, Director: Jo Rideout, Adaptation Jo Rideout, Set Design: Samuele Caldognetto, Music Eamonn O’Dyer, Chris Killik, Dance Coach: Chris Killik, Costumes Kulturhuset Stadsteatern, Jo Rideout, Starring Kristina Leon Cheryl Murphy, Ingela Lundh, Bethany Thompson, Chris Killik, Pontus Olgrim, Performance no. 135 2014

I’ve seen Much Ado About Nothing with Stockholm English Speaking Theatre in Galärparken. 

"It rings again. 

"We thought maybe you had been hit …" I reply. 

It’s quiet on the other end. No crackling, not a sound. Prosopagnosias have very bad luck with electric powered device. Every one seems to be an odd one. He can not buy a talking birthday card without becoming short in the envelope. 

"If you hear me; Go towards the light, Carol Anne, "I say, and hope that he has seen Poltergeist." 

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MUCH ADO ABOUT NOTHING, The Stockholm English Speaking Theatre, Regi: Jo Rideout, bearbetning Jo Rideout, Scenografi: Samuele Caldognetto, Musik Eamonn O’Dyer, Chris Killik, Dance coach: Chris Killik, Kostymer Kulturhuset Stadsteatern, Jo Rideout, Medverkande Kristina Leon, Cheryl Murphy, Ingela Lundh, Bethany Thompson, Chris Killik, Pontus Olgrim, Föreställning nr. 135 2014

Jag har sett Much Ado About Nothing med Stockholm English Speaking Theatre i Galärparken. 

"Det ringer igen.

”Vi trodde du kanske hade blivit påkörd…” svarar jag. 

Det är tyst i andra änden. Inget sprakade, inte ett ljud. Prosopagnosias har väldig otur med elektriska aparater. Varenda en verkar vara ett måndagsexemplar. Han kan inte köpa ett talande grattiskort utan att det blir kortslutning i kuvertet.

”Om du hör mej; Gå mot ljuset, Carol Anne,” säger jag, och hoppas att han har sett Poltergeist.”

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major french impressionist painters: Paul Cézanne, Edgar Degas, Claude Monet, Camille Pissarro, Pierre-Auguste Renoir 

I didn’t become an impressionist. As long as I can remember I always have been one.” - Claude Monet

CHARMÖRER PÅ VIFT, TWO OLD CHARMERS STEPPING OUT, Robert Gustafsson, Allan Svensson, Linda Olsson, Per Eggers, Ing-Marie Carlsson, Jeanette Capocci, Lars Väringer, Mira Andersson, Hani Arrabi, Adaptation & Direction Bo Hermansson, Screenplay - Arnold & Bach, Producer Johan von der Lancken, Executive Producer Vicky von der Lancken, Set Designer Magnus Ahlström, Costumes Camilla Thulin, Make up and Wigs David Julio, Production & Marketing Johanna Cervin, Photo Mats Bäcker, Graphic Design Therese Sandström, PR - Rickard Werecki Lycknert, Krusenstiernska Gården, temporarily housed at Turteatern in Kärrtorp before they move down to The Krusenstiernska farm in Kalmar.

I’ve been to Kärrtorp to see   CHARMÖRER PÅ VIFT, TWO OLD CHARMERS STEPPING OUT, by Arnold & Bach:


"I hear Achromotrichia giggling next to me, and think that if you can get two gay men in the front row to almost pee themselves, then you can not possibly be a local amateur. A star is born!

During the break, we find out that s this star has been born for quite a while, and that I and Achromotrichia just happened to miss the baptism. Her name is Jeanette Capocci, and has been brilliant for over ten years. “

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ROMEO AND JULIET, with Carpa Theater, The Old Town, Performance 134, 2/7 2014 

I’ve seen ROMEO AND JULIET with the Theater Carpa, in the Old Town in Stockholm.

The pigeons have landed high up on the well house again. Leaning against the sandstone facade at the Köpmansgatan Street stands a young man with a blue mask. 

It’s as if we all were waiting for something. 

Somewhere a bell begins to strike. The Finnish Church? Storkykan, the Great Church? The German Church? The clock must be six. A woman in a male Baroque coat and green mask step out in to the town square and announce: 

"Ladies and gentlemen, it is time!" 

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ROMEO OCH JULIA, med Teater Carpa, Gamla Stan, föreställning 134, 2/7 2014

Jag har sett Romeo och Julia som gatuteater med Teater Carpa i Gamla Stan. 

"Några andra asiatiska turister har hittat guiden, och dom försvinner iväg bort mot slottet. Mannen med den enorma chokladkakan under armen kommer ut på torget igen, och ser sej om, lite osäker på vart det var han skulle. 

Bögarna på chokladkoppen har fått sällskap vid ett annat bord lite längre bort. På Pharmariums veranda står servitören kvar, uppgiven, och väntar på att någon ska ropa på honom. 

Duvorna har landat högt uppe på brunnshuset igen. Lutad mot sandstensfasaden vid Köpmansgatan står en ung man i blå mask.

Det är som om vi alla väntade på något.”

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FIDELIO of Ludwig van Beethoven libretto by Joseph Sonnleithner after a French original Léonore ou L’amour conjugal by Nicolas Bouilly, Director Dan Turden, Musical direction Anna Christensson, Set Design Nina Fransson, Costumes Asa Norman, Evelina Hedin, Make up Isa Maxe, Music Arrangement Anna Christensson, Translation Folke Abenius, Adaptation and new dialogues Dan Turdén, Producer Teresia Petterson, assistant Director Aurelia Le Huch, Set Design assistant Viola Florin, Lighting design William Wenner and Lisa Benneth, Film wrapping Erik Riverbank, Props, production assistant Matthias Terwander Stingtzling, builder Peller Wittsäter, Design Engineer Assistants Malin Sandell and Jacob Cederström, Performance Photography, program layout and web Maximilian Mellfors, technology Richard Norén, Musician Anna Christensson, Ylva Lars Daughter, Daniel Migdal, Kim Hellgren, Natalia Godmann, Leonore - Natalie Hernborg, Florestan - Daniel Ralph son, Rocco - Anders Nystrom, Marzelline - Elsa Ridderstedt, Pizarro - Linus Flogell, Jacquino - Jens Palmqvist, Fernando - Anton Ljungqvist June 28th Performance no. 133 2014 

I’ve just seen Fidelio, Beehovens only opera, at the Årsta Theater in Stockholm, Sweden: 

I’m all for instant gratification. I hate to wait, always arrives too early, and in many cases I abstain rather than sit and yearn. Now, if someone offered me a month in New York, all expenses paid, but in two years from now, I probably would have tried to compromise by suggesting two weeks but instantly! If someone says: 

"You wanna go to Ikea on Friday" I respond: 

"What’s wrong with right now?" 

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