Sara Cronberg solves the task by adding creativity to creativity. She holds Per Åhlin as easily and tightly as Åhlin holds Shakespeare lightly and tightly. With a light magical directing touch, she highlights the adventure in the film. Åhlin's cartoon characters live on in Helle Damgaard's masks. Her costumes fill the film's color scheme with brighter colors. Melonia draws more towards "Alice in Wonderland", Polonia draws more towards Dickens when misery is to be brought to life. The tempo is higher, the rhythm stricter. Miranda and Ferdinand become more offensive characters in Ester Claesson's and Nils Peder Holm's characters. Johannes Alfvén and Cecilia Borssén are wonderfully comical as Slug and Slagg. However, the dramaturgy as a whole is more directed towards Prospero, which in Bo G Andersson's design has a more Shakespearean format.

It is a quality product from start to finish. In Sören Brune's scenography, two equally exotic worlds unite - the right angles in sterile Plutonia and the contourless growth in Melonia - and when it rolls across the stage, a separate choreography emerges between actors and technology.

"The journey to Melonia" is a moral adventure that both entertains, warns of what is destructive and protects what is healthy. If you can now conjure, why not conjure up a better world? Now that you have a theater at your disposal, why not create theater magic?

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