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Swedish comedian dead after collapsing on stage

Well-known Swedish comedian and actor Lasse Eriksson, 61, collapsed on stage Thursday night in Uppsala.

Swedish comedian dead after collapsing on stage

At the time, he was performing live as part of a comedy show entitled Fyra lycklinga män 2 (‘Four happy men 2’).

Eriksson later died in an ambulance.

Actor Ronald Brandel, a former colleague of Eriksson’s, was shocked by the news of his death.

“We were like a duo for five years. It’s incredibly sad what’s happened. He was an extremly creative, hard-working person and very likable,” he told The Local on Friday morning.

Eriksson was just coming to the end of the performance at the Reginateatern in Uppsala when he suddenly fell to the floor in front of a shocked audience.

“It was right at the finish, he clutched his chest and tried to get off the stage but fell over,” an audience member told Expressen.

At first, the audience didn’t realise Eriksson may be in danger.

“The show is full of surprises and no one understood what was happening until one of the actors stepped forward and asked if there was any doctor in the audience,” he said

Eriksson was given CPR before being taken to the Uppsala University Hospital, but was dead by the time the ambulance arrived.

The comedian didn’t have any known medical conditions and police told the newspaper that they had yet to determine the exact cause of death, although the don’t suspect foul play.

Born and raised in Piteå in northern Sweden, Eriksson started his career in the 1970s at Panikteatern, an independent theatre group based in Uppsala.

Eriksson is mostly known for his work in several Swedish television shows including political humour programme Parlamentet (‘The Parliament’) as well as another comedic news panel discussion show called Snacka om nyheter (‘Talk about the news’), inspired by the BBC’s Have I Got News for You.

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PARIS

Top Paris theatre reopens as Covid occupy movement ends

French actors, stage technicians and other members of the performing arts ended a more-than-two-month occupation of the famous Odéon theatre in Paris on Sunday, allowing the show to go on after this week's easing of Covid-19 curbs.

Top Paris theatre reopens as Covid occupy movement ends
A picture taken on January 26, 2011 in Paris shows the facade of the Odéon theatre. LOIC VENANCE / AFP

The protesters took down the banners they had slung across the facade of the venue in the Left Bank as they left at dawn, leaving just one inscribed “See you soon”.

“We’re reopening!,” theatre director Stéphane Braunschweig exclaimed on the venue’s website, adding that it was “a relief and a great joy to be able to finally celebrate the reunion of the artists with the public.”

The Odéon, one of France’s six national theatres, was one of around 100 venues that were occupied in recent weeks by people working in arts and entertainment.

The protesters are demanding that the government extend a special Covid relief programme for “intermittents” — performers, musicians, technicians and other people who live from contract to contract in arts and entertainment.

READ ALSO: Protesters occupy French theatres to demand an end to closure of cultural spaces

With theatres shut since October due to the pandemic, the occupations had gone largely unnoticed by the general public until this week when cultural venues were finally cleared to reopen.

The Odéon, which was inaugurated by Marie-Antoinette in 1782, had planned to mark the reopening in style, by staging Tennessee Williams’ masterpiece “The Glass Menagerie”, with cinema star Isabelle Huppert as a former southern belle mourning the comforts of her youth.

But the protests scuppered the first five performances, with management saying the venue was blocked — a claim the protesters denied.

“What we wanted was for it (the performance) to go ahead, along with an occupation allowing us to speak out and hang our banners. We don’t want to stop the show,” Denis Gravouil, head of the performing arts chapter of the militant CGT union, said on Sunday.

Two other major theatres — the Colline theatre in eastern Paris and the National Theatre of Strasbourg — have also been affected by the protests.
 
France has one of the world’s most generous support systems for self-employed people in the arts and media, providing unemployment benefit to those who can prove they have worked at least 507 hours over the past 12 months.

But with venues closed for nearly seven months, and strict capacity limits imposed on those that reopened this week, the “intermittents” complained they could not make up their hours.

The government had already extended a year-long deadline for them to return to work by four months.

The “intermittents” are pushing for a year-long extension instead.

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