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Kajsa Ericsson

@kajsaericssonactr

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KVACK – sista föreställningen igen?! Ja, det är sant. Nu är ännu en spelperiod av Den fula ankungen över. Och med den har vi spelat inte mindre än 243 föreställningar sedan 2023. Det tycker vi är värt att fira! Genom åren har vi haft två fula ankungar = fina svanar: André Gatu och Mira af Ugglas. Vid deras sida har Nathalie Ifter Salomonsson och Kajsa Ericsson turats om att spela föreställningens övriga 10+ roller. Totalt har över 9000 barn och vuxna försökt avslöja Den fula ankungens gömställe, skrattat åt Robot Maxis tokigheter, beundrat rävungens glittriga dräkt och gråtit och glatt sig tillsammans med ankungen – hela vägen fram till svanmammans varma famn. Tusen tack till alla er! Vad säger ni – ska vi hoppas på ännu en återförening?
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Skriver om gårdagens premiär av pjäsen: Jane Horneys sista timmar. (Länk i bio) Föreställningen spelas på Helsingborgs stadsteater. Rekommenderas starkt! Tack @helsingborgsstadsteater @kajsaericssonactor #janehorneyssistatimmar #helsingborgsstadsteater #ceciliaborssén #nilsdernevik #kajsaericsson
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THE WORLD IS FULL OF MARRIED MEN (THE YARD THEATRE) ⭐️⭐️⭐️⭐️ This is such an innovative piece of storytelling, it really is like nothing I’ve experienced before in a theatre. Let’s make no bones about it; this is Barbie porn. Using modified dolls, this is a unique reimagining of Jackie Collins’ 1968 lustful farcical novel. In many ways, this adaptation is a parody - how can it not be with so much humour derived from dolls so graphically shagging - but then it seems to transition into something more resonant by the end. The sex scenes are everything you might imagine and more. We have dolls fucking in every possible angle, giving blowjobs and eating out every which way. Director Erik Holmstrom is also the puppet designer and deserves our congratulations for his efforts. But it is performers Erik Olsson and Kajsa Ericsson who are most worthy of praise, along with videographer Josefin Beischer, for their frenetic depictions. Maja Kall’s beautiful set designs are dolls house size and to bring that alive on the big screen is no easy feat. My only feedback is that a bigger screen would be good, or a black background for the white text English captions (the show is performed in Swedish). And also, sometimes it was hard to tell the difference between the dolls due to the generic faces. But so much humour was found within the subtleties of the props. A little eye movement here, a head turn there. Holmstrom leaves no stone unturned in this affectionate, yet sometimes brutal, adaptation. In Act II, although the humour remains, the plot takes a somewhat darker turn for one of the female characters and the audience reaction suggests the cast have done a good job of provoking an emotional response towards inanimate objects. On the audience though, I get that a lot of the sex scenes are played for laughs but sex in art can be funny, it can be uncomfortable and sometimes it can just be sex. If it’s amusing, by all means laugh but sometimes it is just a depiction of sex and doesn’t require it. Just saying. So, if you have even a fleeting interest in sex, the patriarchy of 1960s London or the endless possibilities in the anatomy of Barbie dolls, this may appeal.
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Ett axplock från en väldigt intensiv men rolig vår/sommar!
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