Without a word, a magic story is told.

After two very successful collaborations between Folketatern and Peter Svenzon, Short Cuts and Boundaries, this constellation now enters the children’s arena with Vargtimma – a magical performance inspired by the classic folk fairytails.

Unlike previous works at Folkeatern, Peter Svenzon is now working against the children’s audience. Not a single word will be said on the stage, on the other hand, the performance is filled with motion, light effects, animation, magic, music and not least video art.

-Vargtimma becomes like a movie, but at the theater. Another genre mix in it´s time. Peter Svenzon’s direction is good with the mix and the ensemble responds with a style of theatre that melts in. It becomes a magic saga without words, but with many amusing elements.

Lis Hellström/ GP

-The fact is that, despite his title, Vargtimma is not about wolves at all, but is a new interpretation of the brothers Grimm’s saga about Hans and Greta.

There are, of course, many more things to not understand with Vargtimma if that’s the consequence you want. The both fun but sometimes absurdly kitschy scenography (was that a powerpoint animations?), A stupid stepmother who is inexplicably put in the wake, the strange “cinema smelling” vinjett … the list can be made long.

In some way, any objections fade away when it’s so amazingly fun. Not only because both children and reviewers repeatedly turn away from laughter, but also because it is unimaginable to see a story that may just be a story. Whatever you know, it’s hard to distinguish something similar to a message, moral cakes, or superlative lessons.

Director Peter Svenzon allows his children’s audience to enjoy the same confidence that the rest of humanity is more often displayed: the belief that without educational translation it is possible to listen to a story that does not consist of candy-floss or even a small fiber-rich brick in their education.

Because of course, it’s not just candy-floss that is offered – despite the presence of the witch’s candy-packed gingerbread house – but also a lot of darkness. Care, abandonment and fear, with the help of Birgitta Nilsson, Anders Granell and Elisabeth Göransson’s wordless acting, are allowed to take place on stage without being directly accompanied by pointers or comfort.

Kajsa Bergström/ Expressen