At Norrbottensteatern, they sit at the helm on their own as screenwriters (Emma Molin and Emma Peters) and director (Peters).
For crew, they have an ensemble where the women are in the majority and most can both sing and play instruments.
It is a good starting capital
as the glitter draperies as well as the house band are in place and as the evening begins with a time cavalcade from tie blouse and long skirt via 70's velor and Lanefelt jerseys to disco, floss and rap.
Everything to the tunes of the prog song Nobody gets away from politics, which is about the woman's eternal lot in life.
Then follows a witty musical satire that in a revue-like way caricatures famous faces and also the TV formats in which they usually appear.
Here the participants are called things like Dandy So, Bianca Costello and Eva Ryse and in program after program, if it's the Prisoners at the castle, Their truth, if it's led by a Norwegian presenter or someone with big and bushy hair, the self can spread at the expense of the collective.
A superficial time is sketched out
where success is counted in likes and where it is the individual stories that are also counted in collective manifestations such as Metoo.
Well, sometimes we are just a little less primitive than the zeroed moose who, according to the TV model, step on stage and fulfill their needs.
The picture that is drawn is certainly not very original, but nevertheless both resourceful and accurate.
Maybe a little too funny?
What happened to the theme itself?
Well, just when it starts to feel as if this social analysis falls into its own grip and itself becomes superficial, one of the tie blouses - perhaps her name is Britt Ström - rebels and demands more historical competence.
And of course she is right that we have a lot to learn from history and our predecessors.
During a chaotic board meeting
in place in the womb, the ensemble manages to put its finger on the divided feminist debate that is being waged and also chivalrously, via Martin Sundbom's disoriented and lost good man, welcome the man into it.
And what does this revue tell you then?
Well, even if it sometimes seems as if everything has stood still, that the woman, as it was sung in the opening song, should still rock, dust, change a diaper and at the same time please, it goes in the end - when history meets the present - to state that we are still a bit on the road.
Contraceptives, consent and soon maybe a female prime minister.
Safe singing efforts, unfailing timing
and a professional script construction.
Surely the double Emmorna and the Norrbotten ensemble have made it worth taking the train to Luleå!