The shortened version of “Kristina” was received with standing ovations by
the audience at Carnegie Hall in New York. Helen Sjöholm’s routine and
empathy makes the story sparkle, Nöjesbladet’s Jens Peterson writes.
The next step should be to stage the whole musical on Broadway.
Aftonbladet 090925
By: JENS PETERSON
Photo: PONTUS HÖÖK
The New York audience stood up and cheered. 15 cents, it says on the stamp with Helen Sjöholm’s face. But “Kristina’s” poster name is worth much, much more. Helen Sjöholm lifts Björn and Benny’s songs to heavenly heights. She writes entertainment history on a historical stage.
Not that Helen Sjöholm seems all too taken by the gravity of the moment. In the audience are powerful Broadway people, in the walls echoes of all the legends who performed at Carnegie Hall can be heard. But Helen Sjöholm does not appear to be more nervous than if she was standing in the People’s House in Sundsvall. She sings so people get tears in their eyes, and after her stunning rendering of “You Have to be There” the audience jumps up into a standing ovation and shout bravo. The applause would never cease. A remarkable experience.
The story sparkles
It’s not just that Helen Sjöholm sings better than everyone else. She has an acting experience and insight that makes “Kristina” and the story sparkle. The translation into English is excellent. The Swedish expressions have been replaced by American with the same poetic charge. “Warm spring evenings” have become “Twilight images calling”, and instead of the Astrakhan there is a scent of “Summer Rose apple tree”. In this shorter version “Kristina” is two hours and fifteen minutes. It’s basically songs only, but some parts are told by the performers. [On the wall] behind the stage black and white photographs appear, and occasionally a rolling text explains the time and place.
Fantastic songs
Lars Rudolfsson has given “Kristina” a taut and stylish setting. In the last touching scene an apple tree is shown in the background and while the music fades out the photograph slides over into color. Beautiful and dignified. It’s not only Helen Sjöholm that impresses. Russell Watson matches her well as Karl-Oskar and he has an interesting voice that can move from opera to pop without losing credibility. Kevin Odekirk gets the evening’s second standing ovation when he does “Gold can Turn to Sand” and Louise Pitre is strong as Ulrika. Both when she sings and when she dramatizes the plot as the narrator. Above all these talented artists highlight what an amazing collection of songs this is. “Kristina” is a rich musical with many expressions and temperament. One can discover and rediscover the melodies and loops in the powerful musical fabric.
Waiting for the musical
At times it’s also funny, although the basic story is heavy and full of sorrow. “To think that men like he can be,” which in Swedish was a word game about language problems, has become “American Man”. A funny homage from the women to the cleaning, cooking priest. The concerts at Carnegie Hall stresses that “Kristina” is a strong musical also in English. The next step should be that it’s staged for real. On Broadway. With Helen Sjöholm. World class is what we usually call our highest rating when we review. Sjöholm is beyond world class, as one poet put it in the emotional storm after “Kristina’s” premiere.
+++++
Kristina
Carnegie Hall, New York
Direction: Lars Rudolfsson, with Helen Sjöholm, Russell Watson, Louise Pitre etc.
Audience: 2 800.
Best: Helen Sjöholm
Worst: Sometimes hard to hear the lyrics when the choir sings.
Question: When do we get to see the whole musical?
Benny Andersson gave Helen Sjöholm a hug.