See also: Annette Heick admits: - Actually I'm a little wretched mother
the Musical 'Mamma Mia!' is seemingly impossible to beat in the floor. It has since its premiere in London in 1999, has long since developed from just being successful to be a regular phenomenon in diverse settings worldwide have so far been seen by a staggering 65 million audiences.
Filmudgaven from 2008 - with Meryl Streep in the supporting role - was also extremely popular in spite of the fact that many of the performers sang really badly -to put it nicely. It was actually also a sequel in 2018, but the bypasses we nådigst in silence.
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Denmark had the Danish version of the musical first premiered in 2010, where it went on to sell 190.000 tickets, which also is a loose. And here, ten years after the new Danish edition is already sold 60,000 of the seats in the presale, so the appetite is apparently not over yet.
It is for several reasons, the main one of course is ABBAs extremely durable songs, but you should also not neglect Catherine Johnson's deft screenplay, where, on the right compelling way she managed to weave 22 by Björn Ulvaeus and Benny andersson's (in between, in cooperation with Stig 'Stikkan' Anderson) hits together into a story, so you - if you didn't know better - would think that they were written for the occasion. In fact, something of a feat.
Danish celebrity - 1. dec. 2019 - at. 18:56 Annette Heick ruler in the home: the Man is raised
the Story is certainly not the world's deepest or most original, but it is there, however. If someone does not already know it in advance, so rekapitulerer we just: a 20-year-old Sophie lives alone with her mother Donna on the small Greek island, where the latter are infected with hiv, and swing the driver a small hotel. Sophie is to marry the Frey, but it plagues her that she never has known his father's identity.
She finds her mother's old diary, which reveals that the three heat affairs a summer 21 years ago is the possible DNA match. She invites the three candidates to the wedding without Donna's knowledge from the the belief that she will immediately be able to recognize her father when she sees him. It is of course not the case, but we does not reveal too much by saying that after various entanglements ends up all happy and everyone gets them and it, they need to have. Donnas two ungdomsveninder Bibi and Tanya also plays a not unimportant role.
the Protagonist is undoubtedly the music - and thank you for it.
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The international production company PER SE (which jealously ensures that there will not be tinkered with too much by the material) behind the Danish setup, and it is enough, therefore, that the French original director Phyllida Lloyd also is listed as director here, although it's probably questionable how many of the samples she has helped.
however, It does nothing, for whoever has pulled the strings, they have done it umanerlig well. The scenography is simple, but sitting right in the tavern. It is quite liberating to get rid of the Greek turistporno that filled so much of the film, and the execution is impeccable. Anne Linnets fordanskninger of ABBAs songs are (still) idiomatic and musical, and the Danish team do a great job on virtually all the seats.
Of them all the rays, however, Annette Heick in a totally convincing effort as Donna. She both dances, plays and, not least, singing is dazzling. She should get Meryl Streep to be ashamed. If you must drop a little fly in the ointment, so one can argue that Mathilde Zeuner Nielsen as the young Sophie, it has to be a little strident in its solo passages, and Gordon Kennedy will probably be glad that he not gambled on a career as a professional singer.
It is, however, minor details in the big picture, and fundamental, this is an exemplary solution of the bound task. Of course, it becomes a new billetsluger. But it is also fully deserved. Could you like the movie (I was not so excited), then one should immediately redeem the ticket in order to see how convincing it really can be done, and thought that it was terrible (which I'm probably more on the line), then one should immediately redeem the ticket in order to be convinced that musicals are not, by definition, is something the devil has created in its most umusikalske corner.
Medv.: Annette Heick, Mathilde Zeuner Nielsen, Gordon Kennedy, Jesper Lundgaard m.fl.