Review: EMIL I LöNNEBERGA at Intiman

This autumn’s family musical at Intiman is *Emil of Lönneberga*, based on Astrid Lindgren’s three books about Emil—the mischievous boy from Småland with his cap and his rifle, whom his mother loves just as he is, and whom the audience loves just as much.

*Emil of Lönneberga* is a musical for the whole family—from children around the age of five to their grandparents. It appeals to generations who experienced these stories as children themselves and have since grown up, viewing the tale through both a child’s and an adult’s eyes. There is something for everyone to enjoy, even if Emil and Ida could perhaps have been given even more prominence in the production.

The musical presents a selection of Emil’s famous pranks, starting with the moment he tries to slurp up the last drop of meat soup and gets his head stuck in the soup bowl.

Then follow a series of other pranks, such as when Emil pulls out Lina’s tooth, escapes from the woodshed to eat all the sausages at the big feast at Katthult, paints Ida blue so Krösamaja thinks she has typhus, and—of course—hoists Ida up the flagpole so she can see all of Lönneberga.

The pranks are interspersed with all the beloved songs from the films—such as "Ida's Summer Song," "Fattig bonddräng" "Du käre lille snickerbo," and "Hujedamej sånt barn han var." Some are performed as solos, but the majority are large-scale ensemble numbers featuring high-energy dance, quickly getting the audience clapping along to the beat.

While the story of Emil is full of joy and laughter, it also encompasses serious themes and depictions of class distinctions. This becomes evident in the evenings spent by Lina the maid and Alfred the farmhand—moments when Alfred brings out his accordion and Lina gazes at him longingly, and when they reflect on their lives and how they came to be a maid and a farmhand.

The set design and costumes evoke the atmosphere of a farm in Småland around the turn of the 20th century, capturing the true spirit of the Emil stories.

It is wonderful to see how the children in the audience become immersed in the story and fully express their emotions—with rapt attention, shouts of encouragement, happy laughter, and clapping—while also seeking the comfort of an adult when things get a little scary. After all, it can be frightening for the youngest ones—for instance, when Ida is hoisted up the flagpole and there is a risk she might fall. Yet, the mood quickly shifts back to laughter.

 

A performance that delights the whole family and earns a standing ovation. However, I would like to offer a quick thought for all the adults in the audience: please be mindful of any children sitting behind you. Even if you want to stand up during the curtain call, remember that the child behind you might miss out on the magical moment of seeing the actors’ happy faces as they take their bows.

The premiere was made even more special by the presence of George Riedel’s daughter, Sara, who received special thanks for the wonderful songs George created for *Emil*.

  *Emil i Lönneberga* runs until December 30.

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