Suomalaisen musikaalikirjoittelun tasosta: tapaus Lauri Meri vs. Next to Normal

Perjantaina 5.11.2021 pinnani paloi loppuun.

Helsingin Sanomissa julkaistiin tuolloin Lauri Meren kirjoittama kritiikki "Next to Normal toimii musiikin osalta niin hyvin, että esitystä tekee mieli seurata silmät kiinni – kaikki muu on enemmän tai vähemmän huonoa" Svenska Teaternin Next to Normal -musikaalista.

Tässä tekstissä avaan, mikä kyseisessä kritiikissä on vikana ja miksi.

Meemin teki Vilma Posio.

Osa 1: Vastuuvapauslauseke

Tehdään heti aluksi muutama asia selväksi.

En halua tällä tekstillä hyökätä Lauri Merta kohtaan henkilönä tai väittää, että hänen kritiikkinsä olisivat ainoita kyseenalaisia kirjoitelmia suomalaisen musikaalikritiikin kentällä. Haluan lisäksi korostaa, että suomalaisissa medioissa julkaistaan myös aidosti hyvää musikaalikritiikkiä – vaikka se aika usein jääkin maakuntalehtien maksumuurien taakse ja siten harmillisesti harvojen saataville. Hatunnosto Etelä-Suomen Sanomien Ilkka Kuosmaselle, jonka viimevuotista Jekyll & Hyde -arvostelua (maksumuuri) fiilistelen yhä, niin hyvin se tavoitti minulle rakkaan mutta tavattoman ongelmallisen teoksen kipupisteet.

En yritä väittää, että osaisin itse tehdä täydellistä musikaalikritiikkiä. Tiedostan, että hyvän kritiikin kirjoittaminen vaatii todella laajaa kritisoitavan taiteenalan tuntemusta, enkä tällä tekstillä pyri retostelemaan omilla tiedoillani. Minulla ei ole mitään teatteriin tai kritiikkiin liittyvää koulutusta enkä ole lukenut juuri mitään aiheisiin liittyviä akateemisia julkaisuja. Olen kerännyt musikaaleja koskevan tietämykseni käytännössä – musikaaleja katsomalla, niiden tekijöitä jututtamalla, muiden fanien kanssa keskustelemalla – ja tiedostan, että tietoni ovat monilta osin puutteelliset.

Ymmärrän myös hyvin, että ammattikriitikon työssä on vaikeuksia, johon me bloggaajat, somekommentaattorit ja muut intohimon voimalla käyvät teatterikeskustelijat emme törmää. Myös toimittamani Musikaalimatkassa-musikaalipodcastin kaltainen uudenlainen, itsenäinen teatterimedia eroaa toimintaympäristönä ns. perinteisestä mediasta. Toisin kuin sanomalehtiin kirjoittavilla kriitikoilla, meillä on enemmän aikaa sulatella näkemäämme, saamme valita näkökulmamme vapaasti lehtikritiikin konventioista välittämättä ja voimme ruotia näkemäämme juuri niin pitkään tai lyhyesti kuin itse haluamme.

Mutta fakta on, että Hesarin ja muiden perinteisten medioiden kritiikit näkyvät (ainakin vielä nykyään) aivan eri tavalla kuin paraskaan blogiteksti, someanalyysi tai podcast-jakso. Ammattikritiikkeihin liitetään mielikuvia asiantuntemuksesta ja arvovallasta. Niillä on valtaa vaikuttaa teosten myyntiin ja potentiaalisten katsojien mielikuviin. Parhaimmillaan kritiikit voivat tai voisivat opettaa meille lukijoille uusia asioita musikaaleista ja auttaa meitä kaikkia ymmärtämään Suomessa erittäin suosittua teatterin tyylilajia yhä paremmin.

Meren Next to Normal -kritiikki sai kuppini nurin, sillä se on kuin hyvän musikaalikritiikin antiteesi – eikä se totisesti ole lajinsa ainoa. Musikaalien ystävänä haluaisin, että kun rakastamaani taiteenlajia käsitellään suomalaisessa mediassa, se tapahtuisi asiantuntevasti ja arvostavasti, mutta kerta toisensa jälkeen saan pettyä. Muiden musikaalientusiastien kanssa käymieni keskustelujen ja myös Ylen Kulttuuriykkösen 6.10.2021 lähetetyn musikaalikritiikkiä käsitelleen keskustelun johdosta tiedän, etten ole turhautumiseni kanssa yksin.

Haluan tämän tekstin kautta avata, miksi tämäntyyppistä musikaalikritiikkiä on genren ystävänä todella hämmentävää, lannistavaa ja ikävää lukea ja miksi toivon, että maamme medioihin saataisiin syvempää musikaaliosaamista. Käyn Meren Next to Normal -kritiikissään esittämiä väittämiä läpi ja käytän tekstiä esimerkkinä musikaalikritiikistä, joka aiheuttaa genreä tuntevalle ja teoksen itse nähneelle katsojalle päänsärkyä.

Hypätkäähän kyytiin ja ottakaa mukava asento, tässä voi vierähtää hetki.

Osa 2: Orkesteri kellarissa ja näyttämöllä huhtova hupiukko – Meren kritiikin väitteet tarkastelussa

Next to Normalin orkesteri. Kuva: Cata Portin

 

"Kristian Nymanin johtama orkesteri saavuttaa saman tarkkuuden, vaikka soittajat on jälleen sijoitettu ilmeisesti jonnekin kellariin ja tempo pääsee toistuvasti nousemaan turhan kovaksi. Musiikin yhteydessä ei näin ollen sovi unohtaa äänisuunnittelusta vastaavan Andreas Lönnquistin keskeistä panosta kokonaisuuden onnistumisen kannalta."

 

Lauri Meren Next to Normal -kritiikki alkaa väittämällä, että musikaalin musiikki "jo itsessään sisältää lähes kaiken tarpeellisen." Olemme Meren kanssa yhtä mieltä siitä, että musiikki esitetään Svenska Teaternissa todella taidokkaasti – mutta kun Meri yhtäkkiä ryhtyy moittimaan orkesterin sijoittamista kellariin, tipahdan minä lukijana kärryiltä. Kokeneena teatterikriitikkona Merelle ei kai pitäisi tulla yllätyksenä, että orkesteri tavataan musikaaleissa sijoittaa orkesterimonttuun tai muutoin piiloon yleisön katseilta? [Tarkennus 13.11.2021: Svenska Teaternin Next to Normalissa muusikot on sijoitettu näyttämön sivuun, ei orkesterimonttuun.]

Orkesterin tuominen näyttämölle ei ole musikaalissa itseisarvo, joka automaattisesti parantaa teoksen taiteellista laatua. Orkesteria voidaan totta kai hyödyntää osana näyttämökuvaa tai tarinankerrontaa (esimerkiksi Jakob Höglundin Cabaret-ohjauksessa hämärrettiin onnistuneesti orkesterin ja musikaaliensemblen rajoja ja orkesteri loi osaltaan näyttämölle Kit Kat Clubin eläväistä tunnelmaa), mutta yhtä hyvin orkesterin piilottaminen voi tukea teoksen tunnelmaa, miljöötä tai sanomaa. Next to Normal on tarina yhden perheen yksityiselämästä, joten on täysin perusteltua kätkeä orkesteri yleisön katseilta. Näin perheen yksinäisyys vaikeuksiensa edessä korostuu ja yleisö ymmärtää varmemmin teoksen musiikin olevan ei-diegeettistä, hahmojen sisäistä maailmaa kuvaavaa.

Toki teatteritilojen akustiikoissa on aina omat ongelmansa. Äänisuunnittelijalle olisi kuitenkin varmasti voinut antaa kiitosta hyvästä työstä ilman, että kyseenalaistaa koko orkesterimontun konseptin. Vaihtoehtoisesti olisi ollut mielenkiintoista lukea Meren näkemys siitä, mitä muuta haittaa orkesterin sijoittamisesta “jonnekin kellariin” on teokselle kuin se, että äänisuunnittelija on joutunut ahkeroimaan.

Näyttämökuva. Kuva: Cata Portin

 

"Henkilöiden väliset jännitteet latistuvat valtavasti, kun näyttelijät joutuvat laulamisen ohella koko ajan puuhailemaan kaikenlaisissa arkisissa askareissa. Loputon päällystakkien naulakoihin ripustaminen, tiskien kerääminen ja verhojen vetäminen häiritsevät katsojankin huomiokykyä.

Näyttämö on niin täynnä kaikenlaisia tasoja, portaita, huonekaluja ja tavaroita, että näyttelijät uhkaavat tyystin kadota lavastukseen."

 

Seuraavaksi Meri kirjoittaa teoksen näyttämökuvasta. Vaikka orkesteri olisikin ilmeisesti ollut hyvä marssittaa näyttämölle, kaikki muu näyttämöllä näkyvä tuntuu olevan kriitikolle liikaa – niin näyttelijäntyö kuin perheen kotia kuvaava lavastuskin.

Pohditaan ensin väittämää liian täydestä näyttämöstä. 

Musikaalissa, aivan kuin missä tahansa muussa teatterin lajityypissä, lavastus kertoo osaltaan tarinaa. Meri jättää kritiikissään pohtimatta, miksi teoksen lavastanut Erik Salvesen on päätynyt täyttämään näyttämön tasoilla, huonekaluilla ja tavaroilla. Omassa ensi-iltaseurueessani lavastuksen pohdittiin näyttävän alleviivatun kulissinomaiselta tai sisustusblogin täydelliseltä kodilta. Ehkä lavastaja yrittää kertoa meille esimerkiksi jotakin siitä, miten ulkoisista seikoista ei voi päätellä mitään ihmisten sisäisestä hyvinvoinnista ja miten kauniissakin kodissa voi elää onnettomia ihmisiä.

Itse en pitänyt Next to Normalin näyttämökuvaa liian täytenä tai kokenut kuuden näyttelijän seuraamista millään tavalla vaikeaksi, vaikka näyttämöllä tosiaan onkin heidän lisäkseen tasoja ja esineitä. Mielestäni Tom Kumlinin valosuunnittelu tukee lavastajan työtä hienosti ja ohjaa yleisön katseen siihen osaan näyttämöä, jossa kohtauksen tärkein toiminta kulloinkin tapahtuu. Toki Next to Normal on tavattu lavastaa minimalistisesti ja siinä mielessä Svenska Teaternissa nähtävä runsaasti yksityiskohtia sisältävä visuaalisuus poikkeaa totutusta – mutta täyden näyttämökuvan pintapuolisen moittimisen sijaan kaipaisin kritiikiltä hieman syvempää näkökulmaa siihen, mistä syistä minimalistinen lähestymistapa kriitikon mielestä palvelisi teosta Svenskanin tuotannossa valittua ratkaisua paremmin.

Ehkä myös Meren moittima takkien ripustaminen naulaan ynnä muu musikaalissa nähtävä arkinen toiminta on harkittua ja sisältää viestin katsojille.

Mieleen tulee, että ehkä musikaalin perhe tässä kirjaimellisesti näyttelee tavallista arkea kaikkine pienine yksityiskohtineen, yrittää esittää kaiken olevan aivan tavallisesti? Tai voisiko olla mahdollista, että jännitteitä jopa paikoitellen latistetaan tahallaan laittamalla hahmot puuhaamaan jotakin sataprosenttisen läsnäolon sijasta, onhan musikaalin keskeinen teema vaikeiden asioiden kohtaamisen välttely? Takin riisuminen ja pukeminen, verhojen sulkeminen ym. voivat myös olla hyvin käytännöllisiä valintoja ja jäsentää samoissa lavasteissa tapahtuvaa toimintaa: tällaisilla keinoilla voidaan merkata tapahtumapaikkojen vaihtumista ja hahmojen siirtymistä uusiin tilanteisiin ilman, että näyttämökuvaan tarvitsee tehdä muutoksia.

Minusta on erikoista, että kriitikko kokee kaiken tämän yksinomaan huomiokykyään häiritsevänä. Tykätä ei tietenkään tarvitse, mutta voisi yrittää ymmärtää ja asettaa kontekstiin.

Makuja on monia, ja Meren kritiikki houkuttelee pohtimaan, millainen tulkinta olisi ollut kriitikon makuun. Ehkä häntä olisi miellyttänyt konsertinomainen ohjaus, jossa näytteleminen pelkistyy jalustoilla seisovien mikrofonien takaa näkyviin ilmeisiin ja eleisiin. Ajatus on erikoinen, sillä vaikka esimerkiksi rock-konserttien konventioilla leikitteleviä näyttämömusikaaleja onkin olemassa (Spring Awakening, Six, Hedwig and the Angry Inch…), ei konsertinomaisuus millään muotoa kuulu musikaaligenren tavallisimpiin tyylikeinoihin – eikä äärimmäisen minimalistinen näyttelijäntyö ole myöskään kaikkia aikaisempia Next to Normal -ohjauksia yhdistävä tekijä, vaan tiskejä on kerätty muissakin teattereissa. Kaipaisin tähänkin jäsennellymmän mielipiteen siitä, miksi pelkistetty lähestymistapa olisi kertonut juuri tämän tarinan Svenskanissa valittua arkisen toiminnan esittämistä paremmin.

Maria Ylipää ja Alexander Lycke. Kuva: Cata Portin

 

"Ylipää pitää esiintyjänä tälläkin kertaa hyvin puolensa, vaikka hänen henkilöhahmonsa ei erityisesti pääse kehittymään mihinkään suuntaan, mutta Lycken roolityö ei poikkea paljon huvinäytelmien ukkotyypeistä."

 

Kritiikin näyttelijäntyötä käsittelevä osa on lyhyt, mutta hämmentävämpi kuin muu teksti yhteensä. Aloitetaan kohdan purkaminen käsittelemällä Maria Ylipään henkilöhahmoa Dianaa.

Diana on jossain määrin epätyypillinen musikaalin päähenkilö, sillä hänen kaarensa ei sisällä näyttävää muutosta hyvästä pahaan, nuoresta vanhaan, rikkinäisestä ehjään. Sen sijaan saamme kulkea hahmon rinnalla muutaman kuukauden, korkeintaan vuoden mittaisen hetken. Diana on hyvin erilainen kuin vaikka Ylipään tunnetuin rooli, Kristina från Duvemålan nimihahmo, jonka elämää saamme seurata aikuisuuden kynnykseltä loputtomien vastoinkäymisten läpi aina kuolemaan asti. Dianan tarina ei myöskään ole yksiselitteinen ja katsojat voivat olla montaa mieltä esimerkiksi siitä, tekeekö hän tarinan lopussa viisaita tai oikeita päätöksiä.

Mutta omituiselta tuntuu väittää, ettei Diana teoksen puitteissa pääsisi kehittymään. Dianan kaaren ytimessä on äidin suhde lapsiinsa: hänen pitäisi sekä uskaltaa päästää esikoisestaan irti että ymmärtää, että kuopus tarvitsee enemmän hänen tukeaan ja rakkauttaan. Musikaalin teksti tarjoaa näyttelijälle useita tilaisuuksia ilmentää näihin teemoihin liittyvää kehitystä. Itselleni Svenska Teaternin Next to Normalin heittämällä koskettavin kohtaus on toisen näytöksen loppupuolella kuultava duetto, jossa Diana ensimmäistä kertaa pysähtyy kohtaamaan Natalie-tyttärensä.

Entäpä Dan, Dianan aviomies?

Kun teatteria katsoo ensisijaisesti fanin silmin, törmää totta kai sokeisiin kohtiin. Tunnustan, että minulle tällainen kohta on Dania esittävä Alexander Lycke. Hän on eräs minulle kaikista tärkeimmistä ja rakkaimmista musikaaliesiintyjistä. Asiatekstin konventioihin kuuluu käyttää käsiteltävistä ihmisistä heidän sukunimiään – mutta olennaisen väleistäni Alexiin varmaan kertoo, että hänen kohdallaan moinen puhuttelu tuntuu minusta hölmöltä ja liioitellun muodolliselta.

Yritetään faniudestani huolimatta seuraavaksi purkaa sitä, mitä Meri tarkoittaa viitatessaan huvinäytelmien ukkotyyppeihin.

Ensimmäinen ajatukseni on, että minä ja Meri olemme selvästi nähneet aika erilaisia huvinäytelmiä. Itselleni huvinäytelmän ukosta tulee ensimmäisenä mieleen stereotyyppinen kesäteatterin maalaiskomedian isäntä, joka herää humalassa väärästä sängystä mekko päällä haitaria soittaen. Musikaalikontekstissa kyse voisi ehkäpä olla myös maitomies-Tevjen tapaisesta hahmosta, jonka elämä on kovaa, mutta joka jaksaa raskaan raadannankin keskellä murjaista pari mehevää sutkautusta ja luikauttaa yleisön iloksi koomisen kappaleen.

Kun yritän riisua fanilasit silmiltäni ja katsoa Lycken roolityötä mahdollisimman objektiivisesti, päädyn kuvaamaan sitä adjektiiveilla "vähäeleinen" ja "aito". Hampaitani kiristellen ymmärtäisin, vaikka en samaa mieltä olisikaan, jos joku toinen käyttäisi sanaa "yksitotinen" tai jopa "tylsä". Toki Danin kohtauksiin kuuluu myös ripaus täysin tahallista tekopirteyttä ja yliyrittävää reippautta – paino sanoilla tahallinen ja teko – mutta kokonaisuutena hahmosta ja roolityöstä välittyy enemmän tummia sävyjä.

Voi kriitikkoparkaa, jos hänen kokemuksensa huvinäytelmien ukkeleista on näin tavattoman ankea!

Kritiikin lukijana minulle jää siis mysteeriksi, mihin Meri huvinäytelmien ukoilla oikeastaan viittaa. Jos en olisi nähnyt esitystä, kuvittelisin kritiikin pohjalta täysin erilaista Dania kuin Svenska Teaternin tuotannossa oikeasti nähdään. Vertaus varmasti käy Meren omaan järkeen, mutta lukijalle se ei avaudu – ainakaan yksiselitteisesti.

There will be light. Kuva: Cata Portin

 

"Ruotsalainen ohjaaja Markus Virta ei tunnu täysin luottaneen Yorkeyn ja Kittin teokseen. Tai sitten hän on ajatellut, että yleisö tahtoo nähdä näyttämöllä kaikenlaista mukavaa touhuamista ja lisäksi kokea onnellisen lopun."

 

Käsitellään vielä Meren kritiikin kolmanneksi viimeinen kappale, jossa hän puolihuolimattomasti kohdistaa kritiikkinsä musikaalin onnelliseen loppuun.

Ilmeisesti Next to Normal on Merelle ennestään tuttu teos, sillä hän viittaa aikaisemmin tekstissään Markku Nenosen Helsingin kaupunginteatteriin tekemään pelkistettyyn ohjaukseen. Tämän huomioon ottaen olen erityisen yllättynyt, että Meri vierittää syyn niin kutsutusta onnellisesta lopusta ohjaaja Markus Virran eikä teoksen kirjoittaneiden Brian Yorkeyn ja Tom Kittin niskaan. Next to Normalin libretto päättyy toivosta kertovaan lauluun, joka Virran ohjauksessa esitetään samalla tavalla kuin kaikissa muissakin näkemissäni Next to Normaleissa: vilpittömästi.

Tietenkään kriitikon ei tarvitse esittää konkreettisia parannuskeinoja esille nostamiinsa ongelmiin, mutta tässä kohtaa on mahdotonta olla miettimättä, millaiset mahdollisuudet ohjaajalla olisi edes teoriassa ollut ratkaista kohtaus toisin. Broadway-musikaalien tekijänoikeuksia valvotaan tarkasti eikä lupia muokata tekstiä ole tapana antaa. Kun lyriikat ovat mitä ovat, mitä ihmettä Virta siis olisi voinut tehdä välttääkseen tunteen onnellisesta lopusta? Ehkä jonkun hahmon olisi pitänyt vetää ranteensa auki laulaessaan kauniita sanoja toivosta, että kohtaukseen olisi saatu vähän särmää?

Itsekään en ole omaan korvaani hieman teennäiseltä kalskahtavan loppulaulun ylin ystävä, mutta ymmärrän, miksi se on päätetty kirjoittaa teokseen mukaan (koska jos näin syvissä vesissä uiva musikaali päättyisi traagisesti, se olisi todennäköisesti useimmille katsojille liian raskas kokemus) ja kunnioitan Virran valintaa ohjata kohtaus totuttuun tapaan.

Next to Normal ei ole ongelmaton teos. Musikaalin librettoa voi syystä kritisoida esimerkiksi siitä, miten se esittää erilaiset mielisairauksien hoitokeinot (kuten Lukupino-blogi arvostelussaan kirjoittaa). Ja vaikka itse Virran ohjauksesta pidänkin, käärmeissäni mutta suurella mielenkiinnolla lukisin myös kritiikin, joka saisi minut näkemään sen mahdolliset huonot puolet – perustelemalla kantansa käsiteltävään teokseen liittyvin argumentein.

Meren kritiikissä moisia perusteluja ei ole. Saan siitä irti, että Svenska Teaternin Next to Normal on musiikkia lukuunottamatta huono musikaali, sillä orkesteri on montussa, näyttämöllä on lavasteita ja teoksen loppu esitetään kuten tapana on.

Mitä ihmettä?

Osa 3: Miten tästä eteenpäin

Kritiikkiä on vaikea kritisoida ja kritiikin kritisoijat äärimmäisen helppo vaientaa ja mitätöidä.

Jos olet itse kritiikin kohteena ja käyt kritisoimaan sitä, saat herkästi mielensäpahoittajan maineen – se koirahan älähtää, johon kalikka kalahtaa. Jos olet kritisoitavan teoksen tai taiteilijan fani, on faniutesi sokaissut sinut ja estänyt sinua puntaroimasta näkemääsi objektiivisesti. Jos taas olet silkka sivustakatsoja vailla mitään yhteyttä kritiikin kohteeseen, selvästi et tunne kritisoitavaa aihepiiriä tarpeeksi hyvin ja huutelet tietämättömyyttäsi.

Kritiikeistä suuttuneille lukijoille jaksetaan myös usein muistuttaa, että älähän hermostu, se on kuitenkin vain yhden ihmisen mielipide. En ole aivan samaa mieltä (esimerkiksi Helsingin Sanomissa julkaistu yhden ihmisen mielipide kantaa mukanaan koko Helsingin Sanomien arvovaltaa), mutta myönnän, ettei paraskaan kritiikki koskaan ole ainoa mahdollinen totuus käsiteltävästä asiasta – ei silloinkaan, kun sen lukija erehtyy niin luulemaan. Kukin lukija saa tietysti itse päättää, onko Meren kritiikki tehnyt oikeutta Next to Normalille tai toisaalta oma kirjoitukseni Meren kritiikille.

Siitä huolimatta vielä pieni yhteenveto.

Kertasin tätä tekstiä varten myös muutamia muita Lauri Meren musikaalikritiikkejä ja tein mielenkiintoisen huomion: Meri nostaa niissä esille samanlaisia asioita kun Next to Normalista kirjoittaessaan.

Esimerkiksi Helsingin Sanomissa 4.9.2020 julkaistu kritiikki "Suurmusikaali Päiväni murmelina hukkaa kipeän teemansa lapsellisen kuorrutuksen alle: Maria Lund on teoksen ainoa valopilkku" (maksumuuri) ottaa esille rekvisiitan suuren määrän, näyttämön hyörinän ja kriitikon näistä juontuvan vaikeuden keskittyä. 29.10.2020 julkaistussa kritiikissään "Jokaisen näyttelijän käsiin löytyy vaivatta soitin viiden tähden Once-musikaalissa, joka toimii näyttämöllä elokuvaa paremmin" (maksumuuri) Meri kehuu muusikoiden sijoittamista näyttämölle kaiken kansan nähtäville "lavastamon takavaraston" sijaan. Lisäksi toistuva, joskaan ei Next to Normalin kohdalla esille nouseva teema on koko perheelle ja aikuiselle yleisölle suunnattujen musikaalien toisistaan erottamisen aiheuttama hämmennys. Selväksi käy, että Meri ei tietyistä musikaaleissa usein käytettävistä tyylikeinoista pidä – mutta epäselväksi jää, kritiikistä toiseen, miksi ne ovat huonoja juttuja, paitsi siis siksi, että kriitikko ei niistä henkilökohtaisesti satu tykkäämään.

Yleisesti ottaen Meren musikaalikritiikit tuntuvat kerrasta toiseen pintapuolisilta ja tyylilajia huonosti ymmärtäviltä, suorastaan sen konventioista hämmentyneiltä. Kuten tämän tekstin alussa kirjoitin, hänen tekstinsä eivät ikävä kyllä ole ainoita suomalaisia musikaalikritiikkejä, joiden läpi paistaa puutteellinen ymmärrys musikaaleista taiteenlajina.

Next to Normal päättyy toivosta kertovaan lauluun, joten minäkin päätän tämän tekstin toiveikkaasti.

Ikinä ei ole liian myöhäistä syventää tietojaan, oppia uutta ja onnistua paremmin kuin ennen. Toivon syvästi, että maamme medioissa nähdään jatkossa entistä parempaa musikaalikritiikkiä, joka avaa tämän uskomattoman monipuolisen ja hienon taiteenlajin saloja yleisölle tavalla, jonka sekä musikaalit että lukijat ansaitsevat.

Two Short Reviews: Violins and Electroshocks

I've seen a handful of shows lately. So, instead of a huge rant about each, it's time for a combination post of short reviews again: Viulunsoittaja katolla / Fiddler on the Roof in Helsingin kaupunginteatteri and Next to Normal in Tampereen Työväen Teatteri.


Viulunsoittaja katolla / Fiddler on the Roof, Helsingin kaupunginteatteri

Riitta Havukainen as Golde, Esko Roine as Tevje.

I swore I wouldn't see this show. My excuse: a friend invited me... And I admit, I was curious about Fiddler. The whole world seems to love it, so maybe there's something to like, even for me?

Indeed, let's start with the good things. I enjoyed Esko Roine as Tevje. Fiddler, to me, seems like a show that will fall flat on its face if the actor playing Tevje isn't up to the task. Luckily, Roine was. His Tevje felt real to me. The problems he faced seemed like something that could've once happened in someone's real life. He wasn't a hero, he made some dubious choices – like a real human being.

I also quite liked the supporting cast. There were some actors whose performances grated on me, but as a whole, the cast did a good job. A special nod to Tuukka Leppänen as Perchik. I felt a tad more awake whenever he was onstage.

Everyone knows Fiddler's music, and it was pretty nice hearing it live. It is rather catchy (read: enjoy listening to If I Were a Rich Man play in your head for the rest of your earthly life).

Then the bad. I think the show was bo-ring. Nothing seemed to happen. I was ready for the intermission about seven times during the first half. The piece also suffered from mood swings: upsetting moments and cheap laughs followed each other with no break in between. Also, the ending felt completely empty to me. Were the villagers even upset?

What's more, the characters, apart from Tevje, were paper-thin. It's more to do with the script than the actors, but it's a problem nevertheless. Tevje's daughters didn't seem to have any defining characteristics. Two out of three suitors had some character, but then there was the last one. It baffled me how one of the daughters made a huge sacrifice for a man who is given three minutes onstage.

While the sets, costumes and choreography served their purpose, I don't think there was anything new or creative in them, nor in Hans Berndtsson's direction as a whole. See how much has changed, visually, since the 60s.

I stand behind what I've said previously: I think Fiddler is a safe and boring choice, perfect for summer outdoor theatres, and I'm disappointed HKT did it. I sure could've lived without this production. However, if a rehash of a fifty-year-old show brings in this enthusiastic audiences (I've never heard people applausing dialogue scenes in a musical before)... I guess the theatre must be happy with their pick.

Raili Raitala as Hodel, Tuukka Leppänen
– as you can recognise from his face – as Perchik.

Next to Normal, Tampereen Työväen Teatteri

Eriikka Väliahde as Diana.

Last time I wrote about Next to Normal, I listed what's wrong with the show. While I came to the conclusion that I might want to see Next again, I soon noticed I didn't actually agree with my own opinion. The mere thought of seeing the show one more time started making me annoyed, for all the reasons listed in the previous review: the black-and-white view of treating mental illnesses, the weak second act, the show forcing its opinions down the audience's throat... I felt that no, I've officially stopped liking this thing, too bad I still have a ticket for the Tampereen Työväen Teatteri version.

Not so bad after all! I left TTT as a N2N fan again. I've now seen three versions of Next to Normal, and TTT's is the best out of them. 

The story has never felt this real to me. I completely forgot about its problems watching this. It's a shame TTT didn't change the family's name to something Finnish, like Wasa Teater did, I think that would've made the show hit even closer to home... But I loved the changes they did make. Most notably, they changed the song Better Than Before into dialogue. The slightly witty tune turned into a proper, much-needed but not out-of-place comic relief. The audience was actually laughing. Overall, TTT managed to turn the dragging second act into something interesting. Tuomas Parkkinen's direction had a couple of moments I could've done without, but as a whole, the show had a nice flow going on.

What's more, two thumbs up for Kristiina Saha's sets! It was refreshing to see them take a different turn from the usual cold and angular Next sets. I especially liked Natalie's cage-like little own space.

The cast (Eriikka Väliahde, Puntti Valtonen, Jukka Nylund, Emmi Kaislakari, Juha-Matti Koskela, Toni Harjajärvi) impressed too. When I saw the Wasa Teater production, I wrote they had managed to make my usual least favourite character Natalie compelling – here, I could almost call her my favourite. Kaislakari made her character alive in a way I could, if not relate to, at least understand. Not to say Natalie's family was any worse. Touching and real are words I could describe both Väliahde's Diana and Valtonen's Dan with. The latter's voice didn't seem suited for the part and therefore didn't really hold a candle to other Dans I've seen (greetings to Sören Lillkung), but that hardly mattered, I liked the overall performance nevertheless.

TTT's Next to Normal has four performances left. I recommend it for everyone.

The neat-o set. And the cast!

Photos by Tapio Vanhatalo and Petri Kovalainen.

Something Next to Normal

A word of warning for starters: written in white text, there are major spoilers for Next to Normal in this review. In my opinion, they will ruin your experience if you don't know the plot of the show. So, please, only highlight the invisible part if you have seen Next to Normal already. (Also, if you ask me, avoid reading the reviews in newspapers. The same spoiler appears there with no warnings.) Other than the white part, this should be safe to read.

Next to Normal is one of the musicals I can't decide whether to call my favourite or not.

In a way, Next to Normal is one of the best musicals of the recent years. With so many jukebox musicals and adaptations nowadays, it's very refreshing to see an original story. It's not an easy one, either: it's about a family struggling with mental ilness. A very interesting subject for a musical, I think.

Yet, I'm afraid every repeat viewing has further opened my eyes to see the weaknesses of the piece. I'm rather annoyed at its black-and-white view about whether to treat mental illnesses with medical science or therapy. The show definitely takes a side, and I think it tries to shove its opinions down our throats a bit too forcibly. Next to Normal also has a rather weak second act. The combination of the songs being less interesting and the action slowing down near the end is sure to make me yawn every time.

Still, I admire Next to Normal for its music (I can't stop looping the songs from the first act), and for telling a touching story with realistic, layered characters, especially the leading couple. It's not often you get all that in a single show. No wonder both Wasa Teater and Tampereen Työväen Teatteri stage Next this fall!

When it comes to the Wasa Teater version I just saw, my expectations were through the roof. Starring three people from my favourite musical cast of all times and, judging by photos and videos beforehand, looking visually so much better than the recent Helsingin kaupunginteatteri version... I was looking forward seeing a great production. And, for the most part, I got one.

Anna-Maria Hallgarn and Sören Lillkung made the two main roles feel very realistic and genuine (interesting that the male lead got the final bow at the curtain call, by the way – but with such a voice and performance, who am I to argue?). Furthermore, I don't think there was a single weak link in the remaining cast, composed of Johan Aspelin, Samuel Harjanne, Markus Lytts and Mikaela Tidermark. Add this one to the long list of Finnish productions I wish they would record a cast album of!

For the most part, I also enjoyed Victoria Brattström's directional choices. I think she seemed to have a very clear view of the story she's telling and the dynamics in between the characters. For example, the character of Natalie, who I found rather annoying in HKT, felt compelling and real to me here.

There's one very big but about me liking the direction, though, and here come the spoilers. Only highlight the following empty-looking space if you've seen some production of Next to Normal.

I didn't like what Wasa Teater's production did with the character of Gabe. 
I think Gabe's one of the most interesting musical theatre characters out there. It's intriguing how we don't really know what he is. A ghost? Diana's illusion? A physical manifestation of the whole family's suffering? All of these at once? It's up to each director, actor and member of the audience to find their own interpretation. However, not everyone has to agree with every idea, and I didn't agree with the director's here...

From the beginning on, Gabe felt rather unreal. If WT's Next was your first time seeing the show, let me know: did you suspect something was awry even before the truth was revealed? I thought that everything from Gabe's simple black clothing on hammered it in that he's different, and his discussions with his mother seemed like two adults speaking. Of course, it can be asked if the it's even important keeping the fact that Gabe isn't real concealed – but personally, I like it better when he seems like a real teenager.
 
The other thing I didn't like was the lack of physicality in Gabe. After seeing Tuukka Leppänen perform the role in Helsingin kaupunginteatteri's production, with all that movement, jumping and running, aggression... This Gabe seemed very meek in comparison. HKT's Gabe kept looming in the background even when he didn't have a part in the scene, as a reminder that he's still there in Diana's mind. WT's Gabe kept disappearing. He didn't feel like a true threat to Diana at any point. Also, without any physical contact, his duet with his dad at the end felt rather empty. 

To me, Gabe is the main conflict keeping the show together, so it's a shame the character doesn't feel more interesting here. As far as the direction allowed him, though, Markus Lytts gave a good performance in the disappointing role. His I'm Alive/Jag är här is truely worth hearing. With different direction, I'm certain he would shine even brighter.

Enough of the negativity, since this is after all the better of the two Next to Normals I've seen so far...

One thing I liked was how the family seemed like people any of us could know. I think that's how the show's supposed to be like, that these events could happen to any family the audience knows. The decision to translate the family's name helped a lot. In retrospect, I think HKT's (and it seems, TTT's too) decision to keep the American names in the Finnish translation was rather alienating. The story felt lot more natural and hit closer to home when we were watching the Fennoswedish family Sundqvist that could just as well live next door to the theatre.

What's more, the little moments in between the characters felt very natural to me.
The moment in the beginning when Dan helps Diana to fix the salad and toast blew me away by taking the time it needed, by being so darn real. Other lovely little moments include the whole It's Gonna Be Good/Nu ska det bli bra scene with the hilarious cast interactions, and Natalie and Henry (or Henrik, he's been turned into a local too) playing snippets by the composers they mention during their banter in the first act. Kudos to Mikaela Tidermark for playing the piano herself!

All in all, even with the script's annoying bits and even with the choices I didn't agree with, I think Wasa Teater's Next to Normal is well worth seeing. The cast is talented and feels like a real family, and I wonder if the songs have ever sounded better. I'm considering taking another look at this before it closes in December.

Photos by Frank A. Unger.
Related: my thoughts about WT Next to Normal's cast before seeing the show.
See the opening scene from the show.

It's Gonna Be Good?

A couple of days ago, I found out something that was released a month ago but that my stalker senses failed to reveal until this week.

Next to Normal
Premiere in Wasa Teater, 22.9.2012, performed in Swedish.
Cast:
Anna-Maria Hallgarn: Diana
Sören Lillkung: Dan
Mikaela Tidermark: Natalie
Johan Aspelin: Doctor Fine/Doctor Madden
Markus Lytts: Gabe
Samuel Harjanne: Henry
The last three with a little caution - I haven't found any confirmation about their roles. These seem like the best matches, right?

Well, I knew Next to Normal was going to premiere in Wasa Teater. I knew, even, that Mikaela Tidermark was going to play Natalie. But, for some reason, me or my equally musical-obsessed friends never managed to find any info about the rest of the cast until just now...
Seeing this cast is 50% composed of ÅST Les Misérables alumni, I'm so there in the premiere. But let's take a closer look. I won't comment on Hallgarn, Aspelin or Lytts here; I haven't seen them in anything, so I can't really make any assumptions. But I will talk a little about my feelings considering the ex-ÅST cast members...

Sören Lillkung as Dan
I'm going to be honest with you. My first thought was "what the hell."
It's probably no surprise to anyone that after Les Mis, I'm for Sören Lillkung in pretty much everything. He was an amazing Javert, vocally the most amazing I could ever wish for. Such a deep, operatic, beautiful voice. Just like every Javert should have, in an ideal world... Of course I'm glad I'll get to see him in some other show!
But then, let's think about J. Robert Spencer from Next to Normal's original Broadway cast album. This is where my initial thought comes from: Spencer's voice is pretty much as far from Lillkung's as you can get. Much lighter, gentler, very very different. Also, if I think about Helsingin kaupunginteatteri's Next with Juha Junttu in the role - pretty close to Spencer's style.
So, I've no idea how Lillkung will handle this, vocally. He'll be very different from what I've used to. Note that when I say different I don't necessarily mean worse, not at all. How could I know! It's just that I'm finding it impossible, trying to imagine what he'll be like. Especially considering Dan's are some of my favourite songs of the whole show, I know every single note from the Broadway version by heart... Wonder what comes of this.
Actually, Dan is my favourite character in the show, too. I know, it seems easy to jump into the conclusion that because my favourite Javert is going to play him he's of course my new favourite - but no. He's been my favourite ever since I saw the show for the first time. You can't help feeling for him. He does the best he can, supporting his family, but the situation keeps getting out of hand, leaving him powerless. He's just a human, one that makes mistakes, as we do. You can't always agree with the things he does, but you understand where his decisions are coming from. I love how his character develops. I'm excited to see what Lillkung does with the role!

Mikaela Tidermark as Natalie
This I've known for quite some time, and I've been happy about it ever since. Even if rest of the production would've been cast with complete unknowns, I'd still gone to see it, for this bit of casting alone.
That's of course because Tidermark was, hands down, the best Cosette I have ever seen. It's a short role that very easy to make very boring. Luckily Tidermark did the best job possible, showing as much character as you can during those few moments. No wonder Marius was in love with the girl, she was so adorable! Also, I really like her voice, I'm sure she'll make Natalie's songs sound good too.
Character-wise, I find Natalie way less interesting than her parents. She's the goodie-two-shoes daughter who starts to rebel, not a very uncommon or an especially intriguing story. My uninterest, though, might be largely about the version I've seen and how Natalie was portrayed there, not the character herself. I'm sure a lot can be done with her, that she can actually be made more interesting. Remembering what I said about Tidermark's Cosette... I have high hopes.

Samuel Harjanne as Henry
Harjanne is my favourite Enjolras in one respect: I think his voice suited the character perfectly, he's one of the best Enjolrati I've ever heard. Acting-wise, well, there were a couple of things... But maybe ranting about Enjolras's character is better left for another time. Especially considering I've seen Harjanne more than the other ÅST alumni here: I also saw him in Striking 12, Spring Awakening and even in that bit part in Legally Blonde. I guess I have to admit I'm a bit of a fan. As one of my friends keeps saying - he's a talented fellow!
So, as if this casting wasn't good enough already, this just makes it a little more perfect! Henry is of course not a very developed character, but he can be quite fun and cute, as Petrus Kähkönen proved in Helsingin kaupunginteatteri. I'm sure Harjanne will be just as good. He'll sound amazing at the very least!

When it comes to the piece in general, Next to Normal is actually one of the best musicals I have ever seen. It's simple - Next has got everything a good musical should have. A really strong story with strong characters, accompanied by strong, original music. Especially remembering the countless jukebox musicals being made everywhere these days... It's really refreshing to see something like Next, a brilliant original musical just a couple of years old.
I liked the 2010-2011 Helsingin kaupunginteatteri version okay, but seeing the show three times was maybe more about loving the source material, not the production itself. Well, most of the actors varied from good to great, anything with my long-time fangirl crush Tuukka Leppänen can't exactly fail in my eyes... But something about the direction distanced me from the events. Maybe it was the staging, which I found simply ugly.
So, I can't wait to see what this production, with Victoria Brattström directing, will be like.

Maybe it'll be an interesting fall, musical-wise, even if a couple of old favourites happen to close this spring!

And hey! If you feel that this is not the version for you to see (if you don't know the story and aren't skilled at Swedish, it might be hard to follow along)... Tampereen Työväen Teatteri will also do Next to Normal next fall, with Eriikka Väliahde, Puntti Valtonen and others in the roles. 
With this, and two productions of Hair popping up in Finland at the same time, greetings to theatres: try to spy each other a little more carefully!

My Finnish Musical Year 2010-11

A Retrospect of Musical Theatre in Finland, 2010-2011

The first musical I saw the last fall - or actually, summer, it was still August - was Titanic in Ypäjä Music Theatre, an amateur theatre company that puts up plays with music. It was also my first closing night, even though I didn't know that at the time. I saw the show with my ever-so-loyal theatre-going friend Sara and her mother.
The musical Titanic isn't great material to work with, I think. I'm endlessly fascinated by the ship, its passengers and the disaster, and I love the movie - it captures the panic onboard very well. Sadly, this musical doesn't. The composer, Maury Yeston, had the chance to make all the noisy, epic tunes he wanted, but he wasted that opportunity. The music is, in my opinion, a bit too calm and pretty.
Luckily the plot only twists a couple historical facts, most notably by making Bruce Ismay a speed-obsessed jerk... But what I think is the story's greatest fault is having no clear main characters. In some instances that works, but not here, I'm afraid. It's hard to feel bad for a collection of characters you know hardly anything about.
All that said, the production was still great. You wouldn't have believed it's an amateur theatre! Most of the actors did great job with their roles, the set was really inventive and even the costumes were beautiful. A huge thumbs up to Ypäjä Music Theatre! When you guys do your next show, I'll try my best to be there!

In August it was also time for Wicked's Finnish premiere in Helsinki City Theatre, a premiere which I attended with my friend Tiia. (Such sneaky birthday gift to give to your friend, musical tickets! That's practically forcing her to keep you company in theatre!) I've talked about Wicked here a couple times already, most notably at here, at my response to one especially sour critic. I don't claim Wicked is a perfect musical by any means, but it has good tunes and will surely entertain you - so I still think badmouthing everything it has to offer is a bit of an overkill.
I don't have much to add to what's been said before, but Wicked, besides being my first premiere, also marks my first time seeing a musical composer, this time Stephen Schwartz, live. Too bad they kept him hidden during the intermission, I'd have loved to shake hands with him!

In September I saw Chicago in Tampereen Työväen Teatteri with Sara.
I like Chicago a lot, but as I've said before, this production was a disappointment. I've talked about it here, and while I've learned to see good in it in retrospect and don't dislike it particularly strongly anymore, I don't really like it either. I can't bring myself to like stealing ideas from movies, and even though the leads did, mostly, an amazing job, I think the show would've needed more ensemble members and even more glitz and glamour to really take flight.

In October I had my first chance to see my favourite musical, Les Misérables, in Finland. Oddly enough, the first time visiting Åbo Svenska Teater - again with Sara - didn't really feel that epic. It was great, but I didn't feel as extatic as you'd suspect. It felt just great. Little did I know how epic my feelings would become later on...

In October I also saw Rebecca in Kouvola Theatre, once again with Sara.
The more I think about Rebecca, the more I dislike it, surprisingly. Maybe some of that's to do with the CD I bought, which has the whole show, dialogue included, in German - it's annoying to listen to, not understanding the language. But I also find the music a little bit underwhelming at parts, and the whole story, while it was really interesting to see it unfold, doesn't really fit well for repeated viewings in my opinion. I thought it was great when I left the theatre, now I mainly think "meh" when it comes to my mind. But maybe seeing it again would change my mind, after all...
However, as with Titanic, the production was surprisingly superb. Kouvola Theatre is a small one, and therefore I was amazed at the quality of their cast. Some of the sets were a little set-looking as opposed to realistic, and the big scene in the end could've been grander, but for the theatre's size and my expectations, I was positively surprised.
Bonus points to the lovely ladies of The Senior Teacher Club of Kouvola for making me smile with their wisdom, heard in the theatre foyer: "I really disliked the play. It should've been two or three hours shorter."

I saw Les Mis again in November, with my dad and a couple of my family's Åbo-based friends, and this time the epicness really got me. The next day I wrote one of the hugest rambles of the history of all my blogs - and, suprisingly, also my blog's most popular text -, a review at here. As I wrote back then: "I had seen the show once before this. I had a really good time back then and thought it was an awesome production. But for some reason just after this time it hit me how great this production of Les Misérables actually is."
I had found a new favourite musical production. Cats, Lahti City Theatre 2008-2009, you were amazing, but sorry...

I saw nothing in December, but 2011 started nicely with Next to Normal in Helsinki City Theatre.
I had managed to get a bunch of friends to come along: Sara, as usual, but also Tiia (a Christmas gift this time), Ulla and Mimmi. We had a blast, I don't remember ever laughing so much during an intermission!
And the show was amazing. I think it's one of the best scores I've ever heard in theatre, and the subject matter is very touching. When the big twist happened my jaw really dropped, extremely clever!
This was also a great time for me and Tiia to fangirl over our favourite actor, Tuukka Leppänen. I had been a fan ever since the aforementioned Cats, and Tiia, being introduced to him as Wicked's Fiyero, quickly developed a fangirl crush on him, too. I think Mimmi, Ulla and Sara were quite embarrassed of us two the way home, when we couldn't stop gushing and giggling in the train station... If you, for a reason or another, are interested in my Tuukka Leppänen fangirling, do see this link.

I and Sara saw West Side Story in Tampere in February. It was a student production, and Sara wasn't exactly excited about it, but I really liked it. The actors, still studying to be trained singers and actors, weren't always perfect of course, and the director had made some bad choices (why no male ensemble in Tonight Quintet, just Riff and Bernardo? Why?), but the production had a huge orchestra and sounded as good as it gets.
Here I found out that I actually love West Side Story. I had seen it on Broadway, and, while I dislike the movie, had liked it, but here I started to love the show. It's a compact package of strong emotions, great tunes, serious issues and, to put it bluntly, shit hitting the fan. There's nothing to add and nothing to take away, it has all the elements you need for a good musical. 
If some Finnish theatre decides to do West Side Story again, though, I've a word of advice: get a new translation. The current one, from the 60's or so, is the most horrible one I've ever had to listen to. Using lots and lots of bad puns doesn't equal Sondheim in any way.

In February I also left for Athens with my dad, and we had the chance to see a Greek production of RENT - but that's besides the point here. So, jumping to March, and to Les Mis once again, and again with my dad (he's becoming quite a fan, I believe). It felt even epic-er, and I was really amused to notice my dad's an Eponine fanboy: "I think that Cosette was a bit of a jerk, Marius should've gone with Eponine instead. She was a nice girl."

March continued with Wicked again, and boy, was that one of the most exciting nights of my life.
As I've told you before, I and Tiia, who had become a fan of the show since the premiere, had decided to make little plushies for the three main actors of Wicked. I admit my motivations had a little bit more to do with meeting a certain actor than complimenting the leading ladies for their good work (not that I wouldn't have honestly wanted to do that too, though!)...
Our friend Mimmi joined us to see the show, and I'm glad she was there - we were so nervous, Tiia and I, that it was good to have someone in her right mind around... We almost fainted just because we were so nervous before meeting the actors to give them our gifts. Luckily they turned out to be lovely people and everything went as well as it could, after all. It was great meeting all three, and, after two years of fangirling, I could check "hug Tuukka Leppänen" off my to do list! As I figured at here back then, I smile because it happened, still. So much that my face hurts.

March was a good month for seeing shows. We celebrated Sara's birthday by going to see RENT's Finnish premiere. Sara, Ulla and Mimmi all enjoyed the show greatly, only Suski thought Wicked was better... To each her own. I'm more with Sara's team here - I thought Suomen Musiikkiteatteriensemble ry, a newly-found group composed of young actors, did an amazing job with one of my favourite shows of all time.
I've talked a lot about this, and the Greek RENT, at here - I might just add that Sara and I loved the show so much we, besides giggling, screaming and making a general scene of ourselves in the night of Lahti after the show, rushed to see the closing night two weeks later. It's very sad the show's run was so minimal, but I've heard the cast didn't get paid, and the show didn't have a huge budget to begin with, so I can understand their decision. Still wishing for a quick revival, though!

In April we saw A Little Night Music in Turku City Theatre with Sara. She didn't like it, I loved it. Pretty much all has been said at my extensive review at here already, moving on...

The last day of April was also the last day of Les Mis for this spring, and I had to see it. I know this blog seems to be mainly about the aforementioned show already, but maybe I could add a couple of words...
This was the best time I've ever had in a theatre. I went alone, but had a truely amazing time. And not just me, the whole audience's mood was fantastic! It was May Day, so I don't know if everyone had already drank their first glass of champagne before entering the theatre or if it was just general party mood... But it was fantastic nevertheless.
Hearing the cast rehearsing One Day More before the show begun... Alexander Lycke, ÅST's Valjean, staring me directly in the eyes during one of his songs (or so it seemed to me. He probably just wondered why I was smiling so widely at his character's pain)... The longest applause I've ever heard, the most enthusiastic standing ovation... The party blowers and streamers the cast had at the curtain call... The "We will Mis you, Marius" sign some fellow fans waved at Glenn Nilsson since it was his last night in the role (I agree with them - Nilsson's Marius had the perfect mix of emotion, good looks and social awkwardness for two women to be fighting over his heart)... The director Georg Malvius coming onstage to take his bow... Me explaining Javert's motivations to an English-speaking couple in the foyer...
It was perfect. I felt like home there. The best May Day I could imagine.

The year's last show for me was Helsinki City Theatre's Next to Normal again, and again with Sara and her mother. Right after seeing it I was quite sure twice is enough, but now I don't know anymore... Maybe third time tells the truth next fall after all?

I of course didn't see every show in Finland, not at all. Some are too far for my time and funds, and some I skipped because I know I don't like them, or, as with Helsinki Svenska Teatern's Cabaret, because I know a Finnish production is coming up soon and would see that rather than the Swedish one. But what I saw didn't disappoint me - I'm constantly amazed at the quality of this country's theatres!

The next season holds a lot of goodies in store, too. Jesus Christ Superstar in concert, Tanz der Vampire, a new Finnish musical called Anna Liisa (about a young lady in the 19th century who is forced to kill her baby), the closing night of Les Mis, Kristina från Duvemåla, and lots of others...
I can't wait for the 2011-12 season to get started!

Pictures from the theatres' websites.

About Applause

As weird as it may sound, my favourite part of any theatre performance is the curtain call.

Don't get me wrong. Usually I love the stuff before the final bows and wouldn't want it to end so soon.
However, despite that, that I find curtain calls magical. Just the thought of not saying goodbye just yet when the curtain closes excites me. To see the actors once more, the most evil of villains smiling happily and blowing a kiss towards the audience, the stars of the piece joking with each other and me trying to guess what they're saying, all the flowers and gifts people have sent to the cast... The excitement and decibel levels rising and rising when getting nearer and nearer to the biggest role's bow.
To me, curtain calls are beautiful.

I remember the curtain call back when I saw Mamma Mia!, my first musical, in 2007.
I don't know where I'd gotten the idea - probably from TV, since the tour had a lot of media coverage when it first arrived to Finland - but I was absolutely certain it was a crucial part of the etiquette to stand up when they do the encores by the end of the show. And so I did. I seem to recall a lot of people raising with me, so I didn't have to stand there alone, wobbling along the music. A good start for anyone's theatre-going career.
I raised to dance a little when I saw the tour the second time in 2008, too - I was still convinced you simply have to do that if you see Mamma Mia! - but some maniac had just shot students in a Finnish school a couple of days ago, so the feeling in the theatre (or actually, ice hockey rink transformed into an auditorium) was less than enthusiastic. Still, I wasn't alone. Maybe the kind people around me thought they can't let the silly-looking girl in a Mamma Mia! t-shirt completely embarrass herself.

Despite doing a standing ovation the first two times I saw a musical I was well aware it was not an usual custom in this part of the world. And when I saw my first non-jukebox musical, the one that made me a Broadway fan for life, the thought of rising from my seat never occurred to me. Never, even though I loved Cats almost more than my own mother. I clapped my hands sore and felt my heart leap when my recently found favourite actor came back onstage, but that was it.

A little later I left for my first trip to West End.
I was having a horrible day when I saw Wicked since we had just heard bad news from home. Maybe due to that, I didn't see anything special in the show. I was very bemused when everyone in the audience, even in the way back where I sat, jumped up from their seats the moment the final note of the show had stopped playing. I had seen The Phantom of the Opera just a day before and found it a lot better, but no one had stood up in the Dress Circle then. I, however, followed the current and rose on my feet. When in Rome, do as the Romans do.
The next day it was Les Misérables's turn. The effect of the bad news had vanished a little, and I was actually able to enjoy the show. When people in Stalls, where I happened to sit with my dad, started rising up and my dad whispered "should we stand up too?" to me, I was quick to say yes. It still felt very weird to me, since I had never seen that happen in Finland, but I was starting to like the custom.

Back home, I had time to see almost two dozen musicals before encountering my first Finnish standing ovation. I was absolutely certain Finns would never do it. We are famously shy, famously introverted... How could one of us ever make himself to stand up in a huge auditorium?

But in Wicked's premiere, the moment the final note had finished - again - two girls next to me and my friend stood up. Random thoughts of solidarity between musical fans shot through my brain and I knew I had to follow them. Maybe the rest of the audience would join us? It was the premiere, after all, and the show hadn't been half bad.
But nope. Me, my friend and the two girls to our left were the only ones standing during the curtain call in the great big theatre. It was only after Stephen Schwarz himself joined the cast onstage the rest of the audience felt it necessary to show some enthusiasm.
I felt kind of embarrassed. But maybe the actors appreciated our gesture. At least the girls next to us did, that's what I'm sure of.

Cue many less-than-excited curtain calls. Cue many shows I liked, cue many audiences that couldn't bring themselves to show that with me. Cue many hands clapped sore but no feet tired from standing.

Cue Les Misérables.

I went to see my favourite musical in in Turku, Finland, in Swedish. For the second time. Strangely enough, I hadn't thought that much of it the first time. It was good, that I was certain of. But brilliant? Well... Meh. It was a kind of a cloud between my ears. I know I had been there, but it still felt very unreal and I didn't remember a lot of it. Luckily I had gotten more tickets as a gift. Maybe second time would tell the truth?
It did.
By the very end, when everyone had taken their individual bow, I saw someone rising up in front of me. I jumped up the very second - and soon so did the entire audience. The miracle had happened. A Finnish (though, if you think with stereotypes, Fennoswedes may have a little less inhibitions on average than us Finnish-speaking Finns) audience had overcome their shyness. All thanks to my favourite musical - and a production of it that now, with no doubt, was my favourite too.
Ever since that I've seen two more standing ovations in Les Mis and one in RENT's Finnish premiere. Every time in Les Mis the standing ovation seems to occur earlier. The last one happened in between the actors leaving the stage and the extras coming to take the first bow! If we want to make it even better, I guess we have to rise at about when the final reprise of Do You Hear the People Sing begins...

I love standing ovations maybe more than anything else in theatre.
I love getting to show the actors how much I appreciate their job. I love for once being able to cheer, scream and clap all I want without getting one of those "shh, shuttup, we're in public and people are looking and you're sooo embarrassing, act your age" looks I know all too well. I love showing positive feelings without disdain, I love forgetting all worries and just feeling happy for a moment.

But it doesn't always work.
I saw Next to Normal the last Wednesday again. It was the last night of the spring. With Les Mis, the spring's last night was completely crazy - people actually banged their feet on the floor in the manner you do in concerts when you demand an encore. I know people in Helsinki sometimes think themselves a little cooler than people in the rest of Finland, but this cool...
It started like standing ovations do. Few people popped up, and so did I - solidarity between musical fans was again in my mind, not to mention I had truly liked the piece.
But in a few moments they started to sit back down again. Not even my friends, with whom I was in the theatre, rose up to support me. Suddenly I noticed I was one of the three people standing in the whole auditorium. And the two others were way nearer to the stage than me. I stuck out like a sore thumb and felt embarrassment creep down my spine.
But I didn't sit down. How could I? It's like saying to the cast that I suddenly stopped liking them. I hate when that happens, being in a space full of others and still being very, very alone, but I knew I was going to stand there for the rest of the night and even completely alone if I had to.

Despite some weird experiences, I always look forward to curtain calls, even though they mean the musical is over and my favourite tunes have been sung for that night.
If you're happy and you know it, clap your hands!

P.S. I apologise calling Next to Normal's Finnish translation tired earlier on. Hearing it again, I can say I've heard way more tired. N2N actually had a couple of very inventive moments.

N2N

I've been rambling about this all over the internet already, so maybe I could gather what I've already said here and only add what is necessary after that.


From my Tumblr:
"Just back from watching Next to Normal in Helsinki City Theatre.
Tuukka Leppänen singing I’m Alive = quite possibly the best thing I’ve seen in a theatre, in Finland at least. My heart was beating about three times as fast as normally. So powerful. Fantastic.
Oh yeah, the rest of it was pretty nice too. ;)"


From my deviantART:
"--And then it was time to go to see Next to Normal in Helsinki City Theatre. And this time I had talked a group of friends into coming with me. We had such fun, I don't think I've ever laughed that much during intermission!
I hope, though, that they'll still my friends after seeing me launch into my full fangirl mode.

The show?
It was wonderful.

First, score and book-wise: gorgeous.
This is, in my opinion, how musical theatre should be done.
I don't want to see another one of your Eighties' Hits Jukebox Extravaganzas or In the Year Seventy-Five: A Mix of Your Favourite Finnish Rock Songs Musicals getting done. This is what I want to see instead - a story that's more than just filler in between the songs. A strong score that works in harmony with the story and the characters.
Next to Normal has just that. It's the best musical I've seen in a long time.

And then, production-wise... Wow. It was oozing with awesome. It- uh. I know a friend I was there with is reading this and going "what is she pretending, there was just one reason she liked it", and she's pretty much right. So let's get to it.

Tuukka Leppänen.
I think I've gushed about him before, but let's just say it all again: he was Munkustrap in Cats, the musical that made me a musical fan in the first place, and was he awesome. I was briefly working at the library at the time and I remember how, the day after seeing it, I just stared blindly at the books, rewinding his parts of the show in my mind. After Cats, I've seen him in Mary Poppins, Wicked and now Next to Normal. And I'm always really, really amazed by his performances. Such stage presence, I don't think I've ever seen anything quite like it.
And this time... You should've heard him sing "I'm Alive." Listening to it made my heart beat about three times as fast as usually. It was, in my opinion, one of the most powerful things I've ever seen in a theatre. Haven't been this impressed by a performance ever since I saw Ramin Karimloo in The Phantom of the Opera soon two years ago.
Or, by a Finnish performance, ever since I saw Cats for the second time over two years ago...

To be fair, the rest of the cast was really good too. Sometimes I've noticed Helsinki City Theatre's productions lack an emotional presence - can't explain it, really, just something that's missing - but that certainly wasn't a problem here!
Oh well, maybe I should've guessed this was going to be good when I went to the introduction by the director (Markku Nenonen) and he was practically jumping up and down in his seat, just out of excitement."


So, uh, hm, I notice my balanced, 0%-of-mindless-fangirling reviews are not so balanced after all... Heh. A girl, no matter how sensible, can fangirl sometimes, right?
Besides, if you had been there, I'm certain you could only think about that one performance too.

So, what's there left to say?
Well, this has been the perfect start for my musical year 2011. I'll get another ticket to N2N the first thing next week. I don't remember being this impressed by a show in a long time! The last time I felt this good after leaving a theatre was I saw Mary Poppins and giggled happily the whole hour and a half it took me to get to home (you there, stop laughing at my musical taste!).
Maybe I've found a new show to mention when talking about favourites - but I'll get the CD first and see if it can survive my light thirteen times per week listening schedule!