|
|
|
|
|
|
1/20/2012
Come to Expat Sporting Sunday on February 12 and try what
the Danish Gymnastics and Sports Associations (DGI) has to
offer you and your whole family.
- Rough & Tumble
- Panna
- Table Tennis
- What is Your Body Age?
- The Great Outdoors
- Yoga for Teens & Adults
- Yoga for Kids
- Ultimate Frisbee
- Flag Football
- Roller Board Hockey
- Bhangra
- Pilates
To read more about the event and to sign up please click here
Everyone is welcome! Come and spend an exciting day full of activity and amusement, and meet some of the local sports clubs that you can join.
What: Free sports activities for everyone – adults, teens, tweens & kids
When: Sunday, February 12, from 10.00-16.00
Where: DGI-Byen, Tietgensgade 65, 1704 København V (next to Central Station) 1/19/2012Puberty: the battleground that defines us all – it is quite literally the period that makes us into who we are today. Few emerge from this time of hormonally-driven high emotions and emotional highs unscathed. From BO worthy of a declaration of martial law to late bloomers with bigger boobs than any of the class had ever envisaged, it’s a period of our lives that few will ever forget, and even fewer want to relive.
Still, that didn’t stop award-winning director Heinrich Christensen drawing from his own experiences to create one of Denmark’s most popular ever plays, Opsang, which for just two nights only is being performed in English by the Mungo Park theatre group next Thursday and Friday.
Lecture, the name of the English version of the 2008 original, according to Mungo Park’s communications manager Katrina Schelin is an excellent opportunity to grab a glimpse of some of the best of Danish youth theatre. “Copenhagen’s English-speaking teenagers and their parents will have the chance to experience one of the most successful Danish theatre performances aimed at young audiences,” she told InOut. “Lecture is a play for teens and grown-ups, teachers, parents and anyone who wants to understand and laugh at teenagers, themselves and at the role they play in the teens’ lives.”
Mungo Park, which has played a significant role in modern Danish theatre over the last two decades, features a youthful and vibrant ensemble of actors, directors, playwrights and stenographers. Founded in 1985, the theatre currently stages an average of 400 performances a year, appealing to an audience of approximately 40,000 viewers. In the spirit of embracing controversial and innovative topics, Mungo Park’s productions tend to be thought-provoking, addressing compelling and relevant political and literary topics.
The central themes in Lecture are adolescence and the seven deadly sins – a powerful combination that is bound to amuse, shock and entertain. Quite honestly, who among us cannot see a connection between the teenage condition and wrath, greed, sloth, pride, lust, envy and gluttony? If one really thinks about it, themes like good versus evil, temptation, sin and redemption are perfectly linked to puberty and post-pubescent life.
As well as appealing to teenagers across the spectrum, this play will be of interest to anyone who enjoyed or endured - depending on the individual’s point of view - the ‘age of rebellion’. The play incorporates humour with live musical performances, featuring the popular genres of hip-hop and rock. Laced with sarcasm and clever slapstick, Lecture aims to engage the audience in serious topics concerning the realities of being a teenager. Funny, yet poignant, Lecture provides food for thought, both for teens and those of us who have crossed over to adulthood.
English-speaking teens will especially enjoy this play as it presents them with an opportunity to better understand a part of Danish culture that directly concerns them. They can learn more about Danish adolescent lifestyles, issues and ideals, allowing them to better contextualise their own culture, in light of that of the Danes.
Anyone who has survived puberty and its blessings and curses is also in for a treat. Lecture is a fun and original way to not only understand teenagers, but also engage with them in an environment created for them. It has the potential to open up dialogue regarding both Danish and adolescent cultures.
Mungo Park theatre, Fritz Hansens Vej 23, 3450 Lillerød; performances Thu Jan 19 and Fri Jan 20 at 20:00; tickets 195-230kr, under-25s 120-155kr, groups (min six people aged under 25) 35kr 11/28/2011
By Amanda Knoll
It probably hasn’t escaped your notice that it’s November in Copenhagen, and the long dark nights of winter have officially arrived. However, the pre-Christmas season is especially suited to enjoying the finer things in life, such as food, drink and cosy company. If you’re in the mood to indulge in some warming fare and togetherness, a visit to Cap Horn should be high on your seasonal ‘to-do’ list.
Located at Nyhavn 21 in the middle of Copenhagen’s landmark harbour area, Cap Horn is ideally placed as a stop before, during or after a bout of nearby shopping. Stepping in out of the cold, the restaurant immediately welcomes you with its relaxed atmosphere, warm colours, and the smell of fresh wood on the open fireplace.
Arriving on a recent chilly night, my friend and I were greeted by the lovely ‘Prinsesse’ Sofia, who settled us at our table with champagne and an enticing overview of the day’s special dishes. (As it turns out, Prinsesse Sofia is not actually a Scandinavian princess, but instead, all the waiting staff at Cap Horn are given the honorary title.) When the time came to decide, my companion immediately laid claim to the pumpkin soup (99kr), while I, secretly annoyed at being beaten to my favourite dish, opted for the duck leg confit (99kr). In the short time before our starters arrived, we’d been suitably warmed by the fireplace and noticed the homely touches around the restaurant, from the Christmas wreaths in the windows, to the mixed tableware collected by the restaurant’s staff at various flea markets.
A basket of fresh, organic brown bread soon appeared, followed by our starters. The pumpkin soup was essentially perfect: creamy, rich and buttery, and crowned with a topping of fresh watercress. The duck leg confit with sweet onion puree was delicious. I silently scolded myself for never actually trying duck leg before; the meat was tender, and the flavour balanced by the sweetness of the puree and apple cider syrup.
The main courses soon followed: rib eye steak with carrot puree and sautéed parsnips and parsley (189kr), and the dish of the day, climate-friendly cod baked with chanterelle butter, and served with leek, carrot and potatoes (189kr). My cohort’s rib eye steak was medium rare and tender, covered with a generous splash of savoury veal sauce - he was delighted that Sophie ensured we had enough bread so he could sponge up every last bit. My cod dish was a lovely mix of simple and fresh flavours, heightened by the knowledge that most of the ingredients were local and organic. Our wine also went down nicely - based on my friend’s choice of rib eye steak, Sophie had recommended the Spanish Valduerro Crianza 2007 (425kr/bottle). We acknowledged that red wine wouldn’t normally go with fish, but I had willingly agreed to the mismatch and was not disappointed.
Throughout the meal Sophie was friendly and attentive, yet unobtrusive, and her attitude personifies the Cap Horn experience. Sophie has only been working at the restaurant for a few months and said she enjoys the cosy atmosphere and pleasant people, both colleagues and clientele. No doubt Sophie and her colleagues will be kept busy with the upcoming julefrokost season; Cap Horn’s Christmas menu is now available, and the restaurant welcomes party bookings of all sizes.
To finish the meal we requested the chocolate cake with Danish strawberries and organic ice cream (75kr), and crème brûlée with cherry sorbet (69kr). My friend enjoyed his cake and had no trouble finishing, but found it a bit short of exceptional. My crème brûlée was beautifully served, the colours of the burned cane sugar topping and bright pink sorbet contrasting with the large white bowl. The texture of the burnt sugar and creamy pudding beneath contrasted equally well, and I made my best effort to finish everything.
Stepping back out into the cold evening air, full and content, we agreed that many a happy winter’s night could be spent in good company at Cap Horn.
By Franziska Bork Petersen
Enchantingly beautiful, imaginative, poetic, humorous and precisely choreographed were attributes with which critics praised Tina Tarpgaard’s Frost when it premiered in October 2009. The piece was choreographed for Dansk Danseteater whose dancers also perform Frost’s revival in Dansehallerne this autumn.
After its premiere Frost won the prestigious Reumert Performing Arts Award for the year’s best dance performance. “Dancers don’t tend to resemble young polar bears. Just as the stage floor doesn’t usually resemble ice floes,” noted the jury. “But that’s how it was in Frost. And the dancers got wet paws, while the glacial poetry melted into this season’s most beautiful waltz.”
The 39 year-old choreographer Tarpgaard was educated in both classical ballet and modern dance at the Swiss Rudra-Béjart School and the Rambert School in England. She is a founding member of the Copenhagen-based Recoil Performance Group. Together with a composer, Tarpgaard established the group in 2003 to facilitate collaborations between different art forms. For Frost, as for other recent works, Tarpgaard has focused on the meeting between dance and digital visual art and worked with the ‘software artists’ Ole Kristensen and Jonas Jongejan.
“Through dance, live video and electronic sound”, it is the Recoil group’s declared aim to create performances that “explore technology as an equal and interactive partner to the performing artist”. “We work with tracking technology and the intricacies of interactive software on stage because it enables us to create dynamic places and environments that depend on human presence,” explains Kristensen.
Jongejan insists that while software programming can be a powerful tool to serve a certain purpose in art, he has no interest in it as an end in itself. In creating a performance, Tarpgaard and her collaborators look for a balance between the motion responsive space and the more direct physicality of bodies dancing in it.
For the choreography of Frost, Tarpgaard makes use of the dancers’ versatility in both ballet and modern dance techniques. And the use of technology adds another dimension to the choreography: graphic projections trace motion in space and thus visualise them beyond their fleeting moment of performance. A specially developed software freezes imprints of the dancers’ movements and lets them remain in space like digital sculptures.
This is quite an addendum for dance: the art form is traditionally characterised by its ephemerality and has no widely-established notational systems for movements. Given this specificity of dance, it is unsurprising that Tarpgaard and her collaborators are in illustrious international company when they work with visualising movement independently from the dancers’ bodies.
But movement isn’t just traced in Frost. Rather, the graphic projections develop a life of their own and interact with the dancers as independent entities. And sound is yet another element that both the video scenography and the dancers’ movements respond to. Jens Hørsving has composed most of it, but Tarpgaard also choreographs a duet to Leonard Cohen’s Take this Waltz.
Frost
Dansehallerne, Pasteursvej 14-24, 1799 Cph V; performances at 20:00 on Fri, 17:00 and 20:00 on Sat; tickets 175kr, 105kr for under 25-year-olds; www.dansehallerne.dk
By Kevin Evancio
Cancer. The word itself brings forth certain images and feelings of misery and death. But even more than that, it brings forth a battery of questions: ‘When?’, ‘How?’, ‘What kind?’ and finally ‘What are the chances of survival?’ It’s the unknown that really throws us for a loop (and it is through personal experience that I can attest to this, as my mother was very recently diagnosed) as we struggle to comprehend it all.
With this in mind, consider Will Reiser, who is not only a first-time screenwriter but also submits a comedic script about a guy battling cancer. I can only imagine the studio’s initial reaction over this type of story proposal. If this type of story was to work at all, you would have to assume that it must be very personal. That the story is comedic and funny in nature - but still moving, relevant and respectful to its subject - is a testament to both its writer and its director Jonathan Levine.
50/50 is the story of Adam (Gordon-Levitt) a 27-year-old recycler who is diagnosed with a rare form of spinal cancer with a survival rate of 50 percent. Hence the movie’s title but as Rogen’s Kyle encourages: “If he were a casino game he would have the best odds.” The movie then follows Adam as he copes not only with his disease, treatment and his feelings about both, but with the varied reactions of his best friend Kyle (Rogen), his ill-prepared girlfriend (Howard), his smothering mother (Huston), and his assigned shrink-in-training (Kendrick).
Gordon-Levitt, continues to distance himself from that dorky looking sitcom kid from so long ago ago. After excellent turns in (500) Days of Summer and Inception, he gives a masterfully subtle performance here. His struggle is palpable and believable. Rogen, who is also a producer, plays the oafish best friend (the Seth Rogen role) that we are so used to him playing. Thankfully he is reined in just enough by director Levine to not pull the film out of balance. But he still delivers some great comedic moments.
There are others in the cast also deserving of praise. Huston is terrifically subdued as Adam’s worried mother. As Katherine tells Adam, she is in a tough spot as she “has a husband she can’t talk to [he has Alzheimer’s] and a son who won’t talk to her”. She displaces the anguish of a mother unable to do anything for her son – or her husband for that matter. While in smaller roles as fellow chemo patients, Philip Baker Hall and Matt Frewer help emphasise the true nature of the disease while bringing added depth to the film.
It is a great script by Reiser (a guy with mostly TV comedy special producer credits), and well directed by Levine (The Wackness). The movie’s ability to go from serious life and death type talk to a comedic moment is brilliant. And as someone dealing with the situation personally, 50/50 resonated long after I had left the theatre. Above all else, 50/50 brings believability to the big screen for a situation all too common place in our world today.
The ability to get laughs out of an illness so devastating must be difficult, and getting them without being cheesy or forced is a true work of genius. Thanks to its strong cast, quality direction and down-to-earth believable script, 50/50 has a surprisingly good vibe and makes for an excellent night out at the movies.
50/50
Dir: Jonathan Levine
US dramedy, 2011, 100 mins
Joseph Gordon-Levitt, Seth Rogen, Bryce Dallas Howard, Anna Kendrick, Anjelica Huston
Premiered November 24
By Jessica Slicer
 Fusing rich and colourful Indian Bollywood scenes with the harsh, sterile setting of a Danish hospital, the story of a delusional ‘Bollywood star’ unfolds in The Bollywood Trip, which after a successful seven-and-a-half week run in Danish, will now conclude with five shows in English next week.
Described as a reinterpretation of One Flew Over the Cuckoo’s Nest, The Bollywood Trip is a love story told via musical comedy that takes the audience through the vast range of human emotions as felt by the deranged star, Haroon. The performance fuses Bollywood dancing and Danish humour - a tactic not often seen on the Denmark stages.
“Our starting point is a Danish, dry, dogma culture that we slowly start to drip a Bollywood universe into,” Parminder Singh, who wrote the script, told Politiken newspaper. Award winning stage director Rolf Heim has joined forces with one of the leading modern Kathak choreographers, British-Indian Gauri Sharma Tripathi, to stage Singh’s work, while musician and composer Stephan Grabowski and his band perform the live accompanying music.
The story begins with Haroon, played by Janus Nabil Bakrawi, ending up in a psychiatric ward in Denmark, under the belief that he is Bollywood’s biggest star. His doctors, however, have a different idea and think he suffers from megalomania and delusions of grandeur. They prescribe him therapy and heavy medication and, following a recommendation from Morten Staugaard’s pompous character, electroshock treatment to bring Haroon crashing back to reality. The larger-than-life, identity-less likeable lead commands the audience’s attention with his booming voice and provocative dance moves as the viewers learn what demons hide behind his vibrant façade as he dodges treatment and tells his story.
Meant to tackle the drama of hiding true feelings, The Bollywood Trip contrasts Haroon’s overt sexuality with the shy romantic feelings that resident psychiatrist Jens, played by Thomas Corneliussen, has for his beautiful co-worker, played by Laura Müller.
The play is unique in the fact that it employs an international cast with Indian dancers and exotic backing instruments, making the overall feel of the performance much more authentic and believable. Bakrawi himself is a Danish-Indian man able to identify with his character’s feelings of identity crisis.
Overall, as Bakrawi and company periodically burst into song and dance, The Bollywood Trip is refreshingly fun while parading the contradictions of west versus east, medicine versus love, crazy versus normal, and fixation versus liberation.
The Bollywood Trip
Republique, Østerfælled Torv 37, Cph Ø;
English language version starts Tuesday 29, ends Saturday Dec 3, performances Tue-Fri Dec 2 at 20:00, Sat Dec 3 15:00; tickets 200-325kr, billet@republique.dk, 7020 1031; 150 mins with intermission; www.republique.dk 11/15/2011
Enjoy seven breathtaking museum experiences and love stories with the one who you hold dear to your heart.
 The Heart Book over them all
Begin the day with a delicious breakfast at The Black Diamond (Søren Kierkegaards Plads 1) and find inspiration for a new reading of your love pledges in the Heart Book, which is the oldest handwritten Danish ballad anthology. The book was written during the reign of King Christian III in the 1550s, where the court flourished with chivalrous knights and beautiful damsels in the not too courtly love milieu. Eighty-three love ballads were collected and written up in bygone times, but the identity and basic facts of the author are lost in the fogs of history. But it has not prevented later authors and poets from finding inspiration for their own works in the Heart Book’s playful ballads.
The enlightening romance of the Golden Age
Bakkehusmuseet (Rahbeks Allé 23) lies a mere stone’s throw from Søndermarken. Take a recuperative stroll and take in the warm and authentic spirit of the very home where culture-loving couple Knud Lyhne and Kamma Rahbek entertained many leading figures from the Danish Golden Age. Visit the legendary corner room where a young and naïve H C Andersen ead aloud his fairy tales and Rahbek called him a ‘poet’. The lonely and insecure writer would never forget those words uttered by pretty Kamma, and he later recounted the fateful moment: “It was the first time anyone had associated the word poet with me: it went through my blood and soul, tears came to my eyes, and I know that from this moment my thoughts were awakened to working as a poet and author.”
Old houses also catch fire
“Age does not protect you from love, but love to some extent protects you from age.” As always, the classical and quick-witted Coco Chanel hits home with the phrase. Experience the relief “Cupid received by Anacreon” at Thorvaldsens Museum (Bertel Thorvaldsens Plads 2), where Cupid sets an old poet’s heart on fire and proves that even old people do fall in love. Maybe the work was inspired by Bertel Thorvaldsens’ complicated and turbulent love life: he never married, but it did not stop him from having tempestuous relationships with no fewer than four women, possibly more. You can also read his love letters, which are readily available on the web through the Bertel Thorvaldsens Letter Archive, at home.
Roses for a much-admired star
Get lost in the beautiful surroundings of Rungstedslund (Strandvej 111), where the Karen Blixen Museum resides. In Ewald’s Room you can find a rather discreet vase with a single red rose, which is replaced every day. Behind this tradition lies a heart-warming story: in the last three years of Karen Blixen’s life she received a red rose every single day by mail – from the same, secret admirer so that she could feel appreciated. The total of roses she received is well above 1,000! Impress your chosen one and send her roses covertly.
The forbidden fruit of love
Take your sweetheart along to the Museum of National History at Frederiksborg Castle and take a walk in the idyllic baroque garden. Experience the pearl of the portrait collection: the lifelike and wonderfully done portrait of Caroline Mathilde and Struensee’s forbidden love child, Louise Augusta, whose conception proved to be the beginning of the end for Struensee’s regime in the literal sense. Fate has been subtle, though; the daughter of Louise Augusta, Caroline Amalie, was later married to King Christian VIII and thereby the blood of Struensee mixed with that of the Danish royal family.
The Wedding Tree
Go forth in nature to the idyllic Ballerup Museum (Pederstrupvej 51-53), where nature’s blessing of the bonds of love once happened. In front of Lynsmedenshus, in the stunning museum garden, you can find the ancient Wedding Tree, which held a mythical meaning for the married couples who visited the region in the days of yore. The legend goes that should the newly married couple entwine their hands through the hole in the tree, their marital happiness will be ensured for life. The hole in the tree has grown over, but the spirit of the magical tree still permeates the surrounding area.
The beloved in the closet
At the Museum of Copenhagen (Vesterbrogade 59, Cph V) you can experience a collection of Søren Kierkegaard’s belongings such as the gold engagement ring, which Regine Olsen wore during the 13 tempestuous months their engagement lasted. After he called off the engagement he had the five diamonds of the engagement ring mounted into a cross, which he bore to the day he died. You can also see a unique Brazilian rosewood pedestal cupboard, which has a moving and personal history: while still engaged, Olsen told Kierkegaard she wanted to remain with him for the rest of her life, even if it meant she had to live in a small cupboard. Kierkegaard had the cupboard constructed after the break-up and kept everything, which reminded him of Regine Olsen, in it.
BY KEVIN EVANCIO
***(Out of 6)  This incarnation of The Three Musketeers feels very similar to the past Russell Crowe Robin Hood feature, and not just because MacFadyen and Evans feature in both.
The whole idea behind the films is the same – take a familiar, popular and well played piece of literature and try to put a new 21st century spin on it as if modern audiences could not relate to the original story. Unfortunately, The Three Musketeers (2011 version) is doomed to the same fate as Robin Hood (2010 version) – they just don’t offer enough to jump start their ‘hidden’ franchise hopes.
Paul WS Anderson (Resident Evil films, Mortal Kombat) brings his incredible wealth of experience and top drawer filmmaking to the newest incarnation of Alexandre Dumas’ 1844 bestseller. Not only is he given the biggest ever budget for a Three Musketeers film, he is also the first to do it in 3D. So we have the director behind the outrageous Resident Evil pictures, with money to burn and a desire to do 3D, attempting to rework a classic piece of literature. What could possibly go wrong?
We don’t have to wait long to see what Anderson has up his sleeveless shirt, as the movie opens with the musketeers, under the employment of France’s King Louis (Fox), in Venice on a secret mission to steal the plans for a Leonardo Da Vinci designed airship (which, by the way, is not as crazy as it sounds as the French were experimenting with airships as early as the mid 1800s). Unfortunately for super-serious Athos (Macfadyen), enigmatic ex-priest Aramis (Evans) and jovial muscleman Porthos (Stevenson), M’lady de Winter (Jovovich, Anderson’s regular muse from Resident Evil), is along for the ride and has planned to double cross them and sell the plans to England and Lord Buckingham (Bloom).
Not to be outdone is Cardinal Richelieu (Waltz, somewhat lazily cast as yet another smooth villain, but damn he plays them well), who also has a piece of M’lady’s ear and has her steal the plans for himself, among other things from Buckingham.
So, by the time that the young upstart hairball D’Artagnan (Lerman) arrives on the scene, the three musketeers have been indulging in more booze than battle and are feeling sorry for themselves. However, after big D’ manages to antagonise the three of them and Richelieu’s commander Rochfort (Mikkelsen), the four of them find themselves together fighting 40, or was it 400?
Finally re-instated, the four (or is it five of them) are sent off on an impossible mission (cue the music) to save France by not only defeating the English but also nullifying the Cardinal’s power back home. And maybe big D’ can even score the girl?
Unfortunately for The Three Musketeers, Lerman is completely uninspiring and creates a large void in the picture where the lead character should be. The time spent on him would have been better spent on MacFadyen, Evans and Stevenson, as they seem to show good chemistry with one another as three friends and war buddies, but don’t get the necessary screen time to really show it.
As for its sequel hopes, like the Crowe/Scott Robin Hood, Anderson’s picture ends just as its story should really be kicking into life. It kinda makes you think: “Why couldn’t they have just started the picture here instead of going through all this garbage beforehand?” or even more likely, ‘Why couldn’t Paul WS Anderson have been too busy with his Resident Evil films to make this one?’
The Three Musketeers 3D (11)
Dir: Paul WS Anderson; UK adventure, 2011, 102 mins; Logan Lerman, Matthew MacFadyen, Ray Stevenson, Luke Evans, Orlando Bloom, Christoph Waltz, Milla Jovovich, Mads Mikkelsen
Premiered October 13; Playing nationwide
10/7/2011By Emily McLean
Ruby Cocktail Bar
Start proceedings with the lethal 'Remember the Rain' and you'll remember little else
There are those moments in life when we wish we could be transported back to another era, a classier one, where men wore suits and women wore heels. There are also those times when we want to experience something on the cutting edge - something forward thinking and out of the ordinary.
Stumbling upon Ruby Cocktail Bar I found myself in between two worlds: adorned like a stately homestead meets 1930s jazz bar, the cocktails are modern takes on old classics, with a seasonal list that changes every three months.
Ruby has been on the Copenhagen cocktail scene for four years now, the product of a Danish/Scottish couple who longed for a great cocktail bar with extraordinary drinks.
The moment you walk through the door, you’re enthusiastically welcomed by three energetic and passionate bartenders. This immediately upped my opinion of the place, as great customer service can be a rare experience in Denmark. Furthermore, when you see bartenders having a great time, shaking themselves around as much as they do the cocktails, you know you’re in for a good time. Hospitality 101: happy staff = happy customers.
After strong recommendations to try the seasonal cocktails, which made use of autumn fruits such as apples and plums, we did. The ‘Dutch Clover’, a new twist on the traditional ‘Dutch Courage’, had a polite blend of syrupy, bitter and tart flavours with a kick of malt. The cocktail is a concoction of Bols Genever, slightly bitter Suze, homemade raspberry syrup and a touch of Lazzaroni amaretto. Perhaps more of a man’s drink.
If you’re up for a stiff kick indulge in ‘Remember the Rain’, a spicy and boozy mix designed to bring a little warmth back to your body. It contains Banks 5 Island rum, Noilly Prat dry vermouth, crème de cassis and Paychaud’s bitters. Good idea to start with this one if you’re planning to drink a few as it will really hit you hard … something you may not be prepared for if you’re soaked in spirits already.
Never shy to educate their guests about the mixology of great cocktails, one of the bartenders let me in on his secret. “It’s simply down to using ingredients you would drink on their own and making the juices and syrups yourself.”
If you only try one cocktail here please let it be the ‘Ruby Daiquiri’. This is the bar’s most popular drink, having never been let off the menu in its four-year history. Composed of rhubarb jam and vanilla syrup - both homemade - it has a rich but natural sweetness unlike some daiquiris where the sugar is heaped in. The ‘Black and Blue Margarita’ is also an enchanting treat for the tongue with a fusion of fresh blackberries and liquorice-infused tequila.
The crowd that frequents the place look like a bunch of Mads Mikkelsens in suits. The crème of the Scandinavian crop – looks-wise as well as wallet-wise - call Ruby their ‘local’, but that’s not to say that the average pleb can’t find a place here too. If you’re timely enough you may find yourself rubbing shoulders with James Bond aka Pierce Brosnan, who dropped by here on his last visit for none other than a dry martini … shaken not stirred. Interestingly enough he sent it back saying it was “too wet”.
So follow in Bond’s footprints and take a swagger down to Ruby to indulge in some ‘classic drinking with forward thinking’.
Nybrogade 10, Cph K; 3393 1203; open Mon-Sat 16:00-02:00, Sun 18:00- 00:00; Top Drink: Ruby Daiquiri; Price Range: 100-120kr per cocktail; www.rby.dk
by Kevin Evancio
** (Out of 6)
Up in the flames of comic purgatory
Not knowing whether to take itself seriously or be goofball Bean funny, Johnny English Reborn hovers in the dreaded middle ground of comic purgatory …
Mr Bean, whoops I mean Rowan Atkinson, is back on the big screen bringing un-super spy Johnny English back with him in a new comedy from Oliver Parker. The latest in a long, long line of Bond parodies, Johnny English Reborn sees Johnny English in a Tibet monastery trying to forget his embarrassing debacle in Mozambique. His superiors in MI7 including Anderson in the Judy Dench role, have all but forgotten about him until a job comes up that only he can do, so he is reluctantly summoned back to the ministry. He is assisted by current Agent One (West), Agent Tucker (Kaluuya), a young man with ambitions to become a serious agent, and Kate (Pike), the behaviour specialist and English’s potential love interest. Johnny uses this help to bumble, stumble, face contort and take kicks to the family jewels as he winds his way from scene to scene until the big finish.
The film is at its best when it uses Atkinson’s (and by extension English’s) age. The comedic theme of getting wiser as one gets older allows our hero to occasionally downplay some scenes to terrific effect. However, these scenes are few and far between as Parker and Atkinson use every comedy trick in Atkinson’s diverse arsenal in this film - rubber-faced Bean-isms, gross stupidity, slapstick, word plays, farce and diverse physical oddities. So in other words, they try to find something for everyone and in the process kind of lose their way.
The rest of the casting is actually pretty sharp with Pike (an actual former Bond girl) and newcomer Kaluuya rising to the top despite the poor direction of Parker who has shown that he really should avoid comedies and stick to his serious period pieces (Othello, The Importance of Being Earnest).
Bottom line: It has some LOL moments and fans of Atkinson will still probably love this movie, though there is less Bean and more Blackadder this time around. You could do worse.
Dir: Oliver Parker; UK com, 2011, 101 mins; Rowan Atkinson, Gillian Anderson, Dominic West, Rosamund Pike, Daniel Kaluuya
Premiered September 29
Playing nationwide, ie Blechtrommel (15)
| Edit in Browser | /_layouts/images/icxddoc.gif | /cultural/_layouts/formserver.aspx?XsnLocation={ItemUrl}&OpenIn=Browser | 0x0 | 0x1 | FileType | xsn | 255 | | Edit in Browser | /_layouts/images/icxddoc.gif | /cultural/_layouts/formserver.aspx?XmlLocation={ItemUrl}&OpenIn=Browser | 0x0 | 0x1 | ProgId | InfoPath.Document | 255 | | Edit in Browser | /_layouts/images/icxddoc.gif | /cultural/_layouts/formserver.aspx?XmlLocation={ItemUrl}&OpenIn=Browser | 0x0 | 0x1 | ProgId | InfoPath.Document.2 | 255 | | Edit in Browser | /_layouts/images/icxddoc.gif | /cultural/_layouts/formserver.aspx?XmlLocation={ItemUrl}&OpenIn=Browser | 0x0 | 0x1 | ProgId | InfoPath.Document.3 | 255 | | Edit in Browser | /_layouts/images/icxddoc.gif | /cultural/_layouts/formserver.aspx?XmlLocation={ItemUrl}&OpenIn=Browser | 0x0 | 0x1 | ProgId | InfoPath.Document.4 | 255 | | View in Web Browser | /_layouts/images/ichtmxls.gif | /cultural/_layouts/xlviewer.aspx?listguid={ListId}&itemid={ItemId}&DefaultItemOpen=1 | 0x0 | 0x1 | FileType | xlsx | 255 | | View in Web Browser | /_layouts/images/ichtmxls.gif | /cultural/_layouts/xlviewer.aspx?listguid={ListId}&itemid={ItemId}&DefaultItemOpen=1 | 0x0 | 0x1 | FileType | xlsb | 255 | | Snapshot in Excel | /_layouts/images/ewr134.gif | /cultural/_layouts/xlviewer.aspx?listguid={ListId}&itemid={ItemId}&Snapshot=1 | 0x0 | 0x1 | FileType | xlsx | 256 | | Snapshot in Excel | /_layouts/images/ewr134.gif | /cultural/_layouts/xlviewer.aspx?listguid={ListId}&itemid={ItemId}&Snapshot=1 | 0x0 | 0x1 | FileType | xlsb | 256 |
|
|
|
|
|
|