Les Mis in Vanemuine and SMOT: Assorted Thoughts

I'm not as young as I once were.

There was a time when I was able to watch Les Misérables five times in the span of a single month with no repercussions whatsoever, but nowadays, give me four Les Mises in three months and I'm an emotional wreck of a human being, hardly able to form full sentences about the experience.

Without further ado, here are some bullet points about my latest Les Mises.

Vanemuine, Tartu, Estonia

Photo by Maris Savik.

• The Estonians have translated the musical's title. Instead of the original French title, it's known as Hüljatud.
• This production is directed by Samuel Harjanne, who is a true Les Mis vet: from Gavroche to Enjolras to director! And indeed, he's directed a very good production of the show.
• Every principal role but Marius is played by two alternates.
• Loved Tamar Nugis as Javert. Classic style with a ponytail and a blue uniform. A classic performance, too, with a little bit of Philip Quast and a touch of Earl Carpenter. Really good.
• Jean Valjean, Mikk Saar, sings very beautifully, but to my taste, his Valjean is too soft – for example, during What Have I Done, it seems like he's on the verge of tears most of the time. I prefer my Valjeans with a harder, more threatening edge.
• The direction puts plenty of focus on Marius (Kaarel Targo) and Cosette's (Maria Listra) romance: first, when Marius is bumbling in Cosette's garden, they offer some comic relief, but during One Day More, you can't help feeling moved by their goodbyes. These two have such a short time onstage together, I'm happy to see a production that makes the most out of it.
• The lighting design by Petri Tuhkanen! Some of the best I've ever seen in any musical. Clever use of shadows, strong colours, such strong contrasts that sometimes the light almost feels like a physical entity. Very beautiful.
• Javert sports some thigh high boots on the barricade. I don't know what to think about that.

In a nutshell: this is a good production of Les Misérables. Not mindblowing or overwhelming – but not every production has to be. It's good and thoroughly enjoyable, and I like how it doesn't try to fix things that aren't broken. Very glad I saw it, and maybe one day when my Les Mis hangover has cured, I'll try to see the alternate cast too.

(Finnish friends: listen to a podcast episode that features an interview with director Harjanne here.)

Smålands Musik & Teater, Jönköping, Sweden

Photo by Lars Kroon.

I first saw this production in September and wrote about it here, so this time, just some more thoughts about my favourite characters.

Jean Valjean and Javert

• Alexander Lycke's Valjean... The reason I bought tickets to two separate performances from the get-go. I've been a fan since 2010, I've said everything already, feels pointless repeating how much I adore Lycke in the role. This production is over soon and I might never see him play the part again, but I'm not going to feel sad about that – I'm just happy I got these two chances to see him as Valjean again.
• Here's a detail I enjoyed, though. During The Bargain, you can tell Valjean sees right through the absurdity of it all, going as far as trying to exchange some can-you-believe-this looks with Madame Thénardier before it turns out she's just as greedy as her husband. Maybe there's a little spark of humour in him!
• I have seen Philip Jalmelid play Javert twice before. At first, I thought he sings the part to perfection but acts too angrily, making Javert seem more like a Disney villain and less like a complex antagonist. But now, late in his second run in the role, he has calmed down just right. Suddenly, the performance is nothing short of perfect. This Javert is intense, determined, three-dimensional all the way through. I guess sometimes it takes a while to really appreciate a performance, maybe both the performer and the person watching need to take some time before warming up to the part, but I'm glad these things happen. One of my personal top 3 Javerts now.
• Some bits I enjoyed especially:
• Javert's attitude towards Monsieur le Maire taking a complete 180 degree turn when it turns out he's been Jean Valjean the whole time.
• How Javert mockingly repeats Valjean's words about Marius needing a doctor's care under his breath in the sewer scene.
• The Confrontation is so intense. There is nothing unnecessary going on, just a battle of wills... And, well, Javert almost getting his head bashed over with a chair – but that was also done very well. This Valjean definitely has that threatening edge.
• From now on, no lesser Valjean & Javert duo will do. Maybe do not accompany me to Les Mis with me until this memory has faded. You're going to have a terrible time listening to my neverending these guys are all right, sure, but let me tell you about Valjean and Javert in the 2017 Jönköping production monologue.

 

Cosette and co.

• The production has changed Cosettes since I last saw it. Linnea Hyltenfeldt's Cosette is nothing short of adorable, there is something so sweet and bubbly and lively to her. And then her smiling through her tears in the finale, knowing she'll lose her father soon but doing all she can to make their last moments together happy and calm... I love Cosette.
• Cosette is way shorter than Valjean and Marius (who are both really tall), which is sorta cute. When Marius spins her around it's like she's flying a meter above the ground.
• Cosette, Marius (Kalle Malmberg) and Éponine (Hanna Holmgren) all feel very young in this production, like teenagers. That's very good. I imagine this Marius has known Éponine for a long time and still thinks of her as a child, a little sister almost – whereas Cosette, in the young man's eyes, is a full-grown woman. It's even clearer than usual that Éponine really doesn't have any chance.
• Cosette deserves so much more that what little this musical gives her.

Enjolras

• I used to be an Enjolras person*. Nowadays, I'm way more into Valjean and Javert and, I admit, tend to zone out a bit during the barricade scenes. Luckily, this time around, my friend firmly told me to pay close attention to Petter Snive's Enjolras. I did, and found myself really liking the character, for the first time in years.
• This Enjolras has energy and drive. He's also very, very done with all his friends when they don't seem to be sharing that, instead focusing on Marius's love life. It feels to me he's a bit apart from the rest of a group, a leader instead of a friend. I like that.
• His death! One of the best Enjolras deaths I've ever seen: when it becomes clear there's nothing left to do, Enjolras sinks into violent, terrified desperation. Every trace of calmness and grace is gone, the whole thing turns into a suicide mission. It's not pretty, it's not majestic, it's horrible and very effective.
• Nice Enjolraic looks are a bonus.

Other assorted thoughts

• Two seats from me, a lucky soul was experiencing the magic of Les Misérables for the very first time. They gasped and pointed when Javert appeared onstage after Fantine's death – oh no, he's here and now he's going to get Valjean! I'm happy for that person.
• There is no such thing as a perfect production of Les Mis (or perfect anything), but at least for now, this direction by James Grieve is the number one for me.

As I wrote at the start of this blog entry, four performances of Les Mis in the span of only three months is a lot. It's a marathon of a musical that makes me feel about five times more strongly that any other piece of theatre. I've been a fan for nine years soon but seeing the show live still makes my heart beat faster. It's been good, seeing all these productions, but now, it's about time for a little break.

I think these memories will last for a while.

* According to a theory I came up with, you can divide the whole Les Misérables fandom in Team Enjolras and Team Javert. Actual favourite characters may vary, but no matter what, you're a member of one team or the other. Team Enjolras prefers the barricade scenes, can tell which barricade boy is which by their lines in Do You Hear the People Sing and likes modern AU fanfiction. Team Javert prefers the non-barricade scenes, has a secret soft spot for the 1978 movie adaptation with Anthony Perkins as Javert and holds their breath every time Jean Valjean and Javert are onstage at the same time.

Musikaalimatkassa!

Hei kaikki, minulla on ilmoitusluontoista asiaa: minusta on tullut podcast-juontaja!

Päätimme keväällä ystäväni Laura Haajasen kanssa, että aika on kypsä Suomen ensimmäiselle musikaalipodcastille. Monta pitkää kesäpäivää meni suunnitellessa ja äänitellessä, nyt on aika pamauttaa tulokset kaikkien kuultaviksi. Ensimmäinen täysimittainen jakso saa ensiesityksensä tänään.

Miksi podcast? Siksi, että bloggaaminen on kovin yksinäistä puuhaa. Joskus blogitekstit toki herättävät keskustelua Twitterissä tai kavereiden kesken reaalimaailmassa, mutta lähtökohtaisesti bloggari naputtelee tunteitaan sanoiksi yksin ja lukijat sitten lukevat tekstin kukin omassa yksinäisyydessään.

Podcastin asetelma on erilainen: jokaisessa jaksossa puhutaan musikaaleista vähintään kaksin, usein isommallakin porukalla vaihtuvien vieraiden ja haastateltavien kanssa. Vaihteeksi dialogia yksinlaulun sijaan! Nautin kirjoittamisesta ja jatkan totta kai tulevaisuudessa teatterista bloggaamista ihan kuin ennenkin, mutta on hauska päästä kokeilemaan myös toisenlaista kertomisen tapaa.

Musikaalimatkassa-podcastin nimi kertoo, mistä on kyse: otamme kuuntelijat mukaan musikaalimatkoillemme niin Suomessa kuin ulkomailla. Juttelemme jostakin illan esitykseen liittyvästä aiheesta, tapaamme ehkä teokseen perehtyneitä faneja tai taiteilijoita musikaalin takana, jaamme näytöksen herättämät ajatukset. Toisinaan istumme alas vieraan kanssa ja otamme käsittelyyn jonkin musikaalimaailman ilmiön.

Julkaisemme uuden jakson suunnilleen joka toinen tiistai. Syksyn aikana aiomme puhua esimerkiksi fanittamisesta ja fanitettavana olemisesta, moraalisesta mielipahasta ja tasa-arvosta. Kerromme lisää suunnitelmistamme podcastin esittelyjaksossa.

Podcastin kautta haluamme jakaa oman rakkautemme musikaaleihin, tarjota Suomen musikaalifaneille ja musiikkiteatterin maailmasta kiinnostuneille jotain uutta ja hauskaa ja samalla tuoda katsojia ja alan ammattilaisia lähemmäs toisiaan. Meillä kokijoilla ja tekijöillä on yhteinen intohimo, ja toivomme, että voimme podcastissa ja sen ympärillä puhua siitä yhdessä.

Julkaisimme juuri ekan jaksomme, jossa lähdemme musikaalimatkalle Ruotsiin Les Misérablesia katsomaan – ja otamme mennessämme selvää siitä, onko satatuntinen kurjuuden viemäreissä kieriskely oikeastaan edes hyvä musikaali. Toivottavasti saamme matkaseuraa monista teatterinystävistä niin tälle kuin tuleville reissuille!

Kuuntele podcastia Soundcloudissa tai iTunesissa
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Upcoming in 2017

Happy 2017!

Yesterday, the last day of 2016, I listed my top four musical performances of the previous year. Today, it's time to take a look at the future with another top four list – the musicals I'm most looking forward to in 2017.

Jekyll & Hyde, Teater Vorpommern, Germany

Photo by Vincent Leifer

Longtime readers know this story already. I and my two friends went to Greifswald, Germany to see Jekyll & Hyde and everything went wrong. This March, we'll travel to Greifswald again, in the hopes that the show will not be cancelled this time.

To quote my friend Rami: "We didn’t go to Greifswald and back for nothing, except we totally did". We've seen video of Chris Murray as Jekyll and Hyde, we know how amazing he can be in the roles. And soon, we'll attempt to see him live again.

I'm excited but mostly nervous. I think I shall relax only after the lights have dimmed and the show has begun. It's a long way to Greifswald and a long day there before we'll see if the show is on. Fingers crossed.

Nahkatakkinen tyttö, Lappeenrannan kaupunginteatteri

Photo: lprteatteri.fi

This is a bit of an outlier on this list. A high school and a professional theatre combining their forces for a new production of a jukebox musical based on the songs of the Finnish 80s band Dingo.

The thing is, Nahkatakkinen tyttö is such a great jukebox musical it really makes me forget it's jukebox at all. It feels like the songs have been written for the plot, centered around a group of high school kids spending a weekend in a cabin where something dark has happened, instead of the other way around.

So far, I've seen this performed by two high schools (it was originally written for one of them) – and no matter how talented the performers, it's always a bit awkward when teens play adults. So I'm glad to see a coproduction with adults in the adult roles and teens playing teens. I've been hoping for such a cooperation to happen for a while, and this spring, my wish comes true.

Les Misérableses

Picture: smot.se

In autumn 2017, Les Mis is popping up everywhere around Northern Europe: Smålands Musik & Teater, Jönköping, Sweden; Teater Vanemuine, Tarto, Estonia; Folketeateret, Oslo, Norway; MCH Musicals, Herning, Denmark...

I doubt I'm going to be able to see all of these in 2017, though they're all interesting in their own ways. So far, I've booked my tickets to one of them: I'll be seeing the premiere of the new Swedish production. It'll be a replica of the Karlstad production I last praised in my best of 2016 text, but with at least partially new casting. Not much is known about the production yet, but with the right cast, it might be quite wonderful – the direction is certainly good enough to bear replicating. We'll see!

I also find the new Estonian production very interesting since it'll be directed by Samuel Harjanne, who has acted in three different Finnish productions of the musical, first as Gavroche and then as Enjolras and other barricade boys. I'll be curious to see how his direction will be like and really hope I can fit it in my 2017 schedule, too.

Cats, Tampereen Teatteri 

Photo by Henri Mattila

Cats is one of the first musicals I fell in love with, so I'm happy that it's coming back to my home country. This new production, directed by Georg Malvius, will give the material a brand-new spin: the show will be narrated by a rat. It's interesting to see how that'll work out – glad to hear that Andrew Lloyd Webber approves of such bold reimagining of the classic megamusical.

Remembering Malvius's version of Hair, with some rearranging of the songs and scenes to make the whole musical more story-driven... I doubt the rat is going to be the only alteration here. It's interesting to see how Malvius's Cats, another musical that traditionally has hardly any plot, is going to play out.

Everything we've heard of the production so far sounds good, so I'm eagerly looking forward to this one. I bet it's going to be a lot of fun.

So, onwards to 2017! May the new year be filled with happy moments and fun experiences, theatrical and otherwise, for all of us.

Related posts: Best of 2016, Nahkatakkinen tyttö (Finnish only)

Best of 2016

So, 2016. Worst year ever? Or maybe not so terrible after all? I don't know – but this way or that, thank goodness for live theatre.

For me personally, 2016 has been busy and exciting. I graduated and started working as a full-time communications coordinator in a theatre. The work's been both hard and challenging, fun and rewarding. I've still a lot to learn, but there have been moments when everything's felt just right. So whatever the future will bring, I hope I'll get to keep on learning and working in the field that's so close to my heart.

I've also seen plenty of shows this year, both good and otherwise. I like to focus on the good stuff, so to celebrate the end of 2016, here's a short list of the most memorable musical performances of the year. In no particular order, but saving the best for the last.

Jekyll & Hyde, Det Ny Teater, Denmark

 

Photo by Miklos Szabo

This was no perfect production, but it was an intriguing one that has haunted me for the better part of the year.

Implying Emma struggles with mental illness and giving Spider more time onstage were interesting decisions on their own, but the dark and disturbing tone of the whole production is even better. Instead of stumbling on the awkward parts of the musical's script, the Danish creative team managed to create a wonderful, creepy atmosphere with a strong focus on the duality and responsibility of man.

Deep stuff for Frank Wildhorn's Jekyll & Hyde the Musical, that's what I'm saying.

Last performance of Jekyll & Hyde in Jyväskylän kaupunginteatteri, Finland

 

Photo by Jiri Halttunen

This one's sort of cheating, since the production premiered in 2015 already. But the last performance in May 2016 was truely something special.

I don't know if it's a thing in other countries, but in Finland, it's something of a tradition that during the last performance of a theatrical production, actors play little pranks on each other. And let me tell you, I've never seen as thorough and as entertaining pranking as during this performance! Highlights included Jekyll impromptu singing and dancing his way into the Red Rat and all the Red Rat dancers taking turns in harassing Utterson during the scene that followed.

I don't know what the audience in general thought of the mayhem, but for us J&H fans gathered in the first rows of the auditorium, it was a hilarious treat. A perfect ending for a fun production.

Les Misérables, Wermland Opera, Sweden

 

Photo by Mats Bäcker

I travelled to Sweden twice for this (the link above is to my first review, read about the second time here).

I've seen Les Mis 30 times soon, but watching this production for the first time, I was so immersed in the story it really felt like I didn't know what's going to happen next. The production is not without its problems, but the way it treats Jean Valjean – as the main character of the story instead of a person around whom dramatic things keep happening... It sounds so simple, it's almost shocking how refreshing seeing that felt!

Klokkeren fra Notre Dame, Fredericia Teater, Denmark

 

Photo by Søren Malmose

I think I've said it all in my review. I waited for five years to see Disney's The Hunchback of Notre Dame the Musical live. I could have waited for fifteen and been completely satisfied. I'm grateful for the opportunity to watch this musical as a part of the premiere audience. Nothing can compare, and I doubt I'll ever experience anything else quite like this.

I know extreme enthusiasm, like mine, can be a bit scary. Maybe you think that if you saw the show, your experience could never live up to what I've described in my review. And maybe it won't! But even so, I cannot but encourage everyone who can make it to Copenhagen next summer to purchase a ticket now, while they're still available, to see it for yourself. Whether you're a fan or a professional, an artist or an enthusiast, it'll be a performance to remember.

Book your ticket, I'll book mine, and we'll see each other in Copenhagen next summer.

Related posts: Best of 2015, Upcoming in 2017
Bubbling under: Rock of Ages (it's currently playing in the theatre I work at. I doubt I would have seen the 80s rock jukebox show six times if I had had to pay full price, but as it is... It's all empty calories, nice sights and sounds with no substance whatsoever, but I have to be honest and admit I've enjoyed it immensely), Vampyyrien tanssi (I'm afraid I grew tired of the new Finnish production of Tanz der Vampire faster than I thought I might – but it was very entertaining, with the most enthusiastic Finnish musical fandom I've seen in years. It introduced me to new friends and let me have fun with old ones, and for that reason alone, it has a place in my heart)

Cabarets

Please note: Tampereen Työväen Teatteri invited me to see their production of Cabaret for free.

Let me tell you about one of the theatrical performances that has impressed me the most.

Ensemble from Malmö Stadteater's and Malmö Opera's Cabaret. Photo: Markus Gårder.

The musical Cabaret doesn't need much of an introduction. I'm sure every musical fan knows this show, a disturbing tale set in the 1930s Berlin, written by John Kander and Fred Ebb and celebrating its 50th birthday this year.

Cabaret has been staged in many, many different ways. In the 2014 Swedish production of the musical, produced by Malmö Stadteater and Malmö Opera and directed by Hugo Hansén, we met a very brash and desperate Sally Bowles, a very young and obviously homosexual Cliff Bradshaw and a very imposing, creepy, out-of-this-world MC. The action was set simultaneously in the 1930s and in a modern day voguing house. The world portrayed onstage was fast, feverish, cruel, and very clearly on its way towards complete destruction.

I wrote a short review about the production right after seeing it, but as is often the case, I didn't understand the full impact of the performance immediately. It's only when something keeps haunting you for a long time that you feel the full impact. It's been two and a half years now, but I still keep returning to the Malmö Cabaret in my memories.

I saw the production because Lindy Larsson's MC intrigued me, and that's the image that comes back to me most often, too; a tall, imposing, scary yet gorgeous creature quite out of this world.

But it's not just Larsson's performance that I have fond memories of.

Before watching the show, I didn't know anything about vogue style dancing or ball culture – but that's a part of what made the production so interesting to me. It was a journey to not one but two unfamiliar realities. It worked on many levels: the voguing inspired choreography suited the cabaret setting well, introducing distinctly modern elements to the story made it feel more relatable and therefore way scarier, and, as a whole, the combination of historical and modern made for a very fresh and unsettling experience.

It was not easy to watch, but I don't think Cabaret is meant to be.

The Malmö Cabaret was by no means a perfect production (the way they finished with a two-minute-long scene of interpretive dancing meeting senseless violence left a weird aftertaste), but it was a fresh, eye-opening, fascinating one.

Happily, the production team uploaded some songs on Youtube. They're all great, but here are two of my favourites:

Meine Damen und Herren, mesdames et messieurs, hyvät naiset ja herrat!

The most haunting orchestration of Kickline you're ever going to hear.

I had seen a disappointing production of Cabaret before watching the show in Sweden, a production that made me think Cabaret is not a musical for me at all. But since returning home from Malmö, Cabaret has sneakily become one of my favourite musicals. It has so many of the elements that fascinate me: a historical setting, an enigmatic narrator, strong feelings, and a very unhappy ending.

I'm thinking about Cabaret today because last week, I saw a new Finnish production of the musical in Tampereen Työväen Teatteri, on one of the country's biggest stages.

Ensemble from Tampereen Työväen Teatteri's Cabaret. Photo: Teppo Järvinen.

The production had a fantastic cast, a great look, a good sound... In short, all the elements of a fantastic show. Still, watching the premiere, I didn't feel much. Director Tiina Puumalainen (who is, by the way, going to direct The Phantom of the Opera in Sweden's Göteborgsoperan next year) had chosen a glitz-and-glamour approach with big sets and a large ensemble of dancers in lacy pants, beautiful but rather empty on the inside.

I couldn't help returning to Sweden in my mind. And compared to the Malmö production, the new Finnish show felt way too safe, way too feel-good, way too boring. (Read my review in Finnish.)

I'm not saying Cabaret can't be done well in multiple ways. It can be modernised, it can be staged as a traditional period piece, it can be done really big or with a small ensemble. In theory, I'm open for all sorts of interpretations of this classic. Yet, memories of the Swedish production coming back to me every five minutes when watching the Finnish show made me wonder... Am I being so open-minded after all, or am I letting a past favourite define what I think about new versions?

Whatever the case, I'm sorry to say felt hardly anything watching the new Finnish Cabaret. Other reviewers have praised it. I'm almost sorry I cannot see what they are seeing, since it would have loved to feel really excited to about this.

But I guess that's, once again, a part of the magic of live theatre. Unlike movies, you get countless interpretations of the same story. If you don't like this version or that, there might be another production coming up soon that's just right for you.

And with that, onwards to the new theatrical season. I feel way more alive now that it's getting colder... and I have a new musical to look forward to every week!

P.S. I wonder if it's necessary for the MC to always be played by a man. In Malmö, actress Laila Adéle understudied the role – and while Lindy Larsson's MC haunts me to this day, I would have been very excited to see her, too. The MC is often portrayed as sexually ambiguous and experimenting with gender expression, so I see no reason why people of any gender couldn't perform the role. Casting a woman as the principal MC would give the musical an interesting new twist!

Benny, Björn and I

I just realised something. I have a post highlighting my number one love-to-hate musical composer, but haven't ever really written about my real favourite musical composer/lyricist duo.

Benny Andersson and Björn Ulvaeus.

You might have heard of them. Of the ABBA fame, you know.

I've been a fan of ABBA pretty much ever since I can remember, and the world tour of Mamma Mia! that stopped in Helsinki in 2008 was my first ever live musical. Indeed, I think I will always have a soft spot for Mamma Mia!, the mother of all jukebox musicals... But Andersson and Ulvaeus have also written three musicals from scratch. Two of those shows are especially important to me – and the very reason I adore Andersson and Ulvaeus so much.

So in this post, I'm going to shamelessly fangirl them!

Kristina från Duvemåla, Svenska Teatern, 2012–2013. Photo by Cata Portin.

If I had to pick a single favourite musical score, I think I would go for Kristina från Duvemåla, music by Andersson and lyrics by Ulvaeus.

Based on Swedish author Vilhelm Moberg's The Emigrants novels, Kristina från Duvemåla (premiered in Malmö, Sweden, in 1995) tells the story of a 19th century Swedish woman moving to America with her husband and children. Written out like that, it sounds a bit mundane, a realistic and down-to-earth story. But listening to it... Kristina is a musical symphony that soars to great heights, from joy to the deepest sorrow.

Sailing to America knowing she's never going to see home again, titular character Kristina faces many experiences and feelings I cannot personally relate to. But the music – more so than any other musical score – makes me understand. It's all there, Kristina's feelings and hopes, her fears and her decisions.

Gosh. I love this musical.

Maria Ylipää performs Du måste finnas

I enjoy every second of Kristina från Duvemåla, but there is one song I appreciate in particular. No piece of music has ever hit me like hearing Du måste finnas for the first time did.

In her big solo, devoutly religious Kristina faces a newfound, scary doubt: could it be that God doesn't exist? Sitting in Svenska Teatern in 2012, listening to Maria Ylipää's performance, I found out I had misplaced my tissues – so soon enough, I had to attempt drying the rivers running down my face with my sweater. I think I was sobbing out loud a bit. I cannot put what I felt into words. Every chord in the song struck a chord with me.

Du måste finnas highlights the enormity of an ordinary person's most private feelings. Each of us contains multitudes, and here, we get to see inside one woman's mind. Kristina expresses feelings she has never shared with anyone, apart from the god she is no longer certain exists. To say it's a powerful song is an understatement.

However, when you look at the musical as a whole, Du måste finnas is detached from the big arc of the story (that is the case with the corresponding scene in Moberg's original novel, too. Following the books to a tee, the musical inherits all of their problems). There is hardly any leadup, and afterwards, Kristina's faith is never discussed again. If anything, she seems to revert to the firm believer she was beforehand. So maybe we are supposed to infer she got an answer to her plea?

Indeed, Kristina från Duvemåla is not a perfect musical. Lasting for almost four hours, it's an overbloated spectacle. If (when?) it's staged again, I think it would be for the better to cut out 30 minutes and give it a brand-new direction.

But as a cast recording, as a piece of music, as a symphony, I wouldn't cut a minute.

A trailer for GöteborgsOperan's 2012–2013 production of Chess på svenska

Chess, Andersson and Ulvaeus' first musical from 1984, is very different from Kristina. It's a story about a Cold War era chess tournament, with an American and a Soviet grandmaster competing for the world championship – and for the affections of a certain woman.

With book and lyrics by Tim Rice, Chess has undergone many transformations: never quite finding a perfect mix, different productions feature different songs, different subplots and even different endings.

I have a less passionate relationship with Chess than I do with Kristina. I have never seen it live, and on paper, the plot doesn't really excite me. I'm sure seeing a live production of Chess would help me get a firmer grasp of the story, but while looking forward to that, I don't think I will be drawing fanart of Chess characters anytime soon.

But then there's that one thing again: the music. Ranging from classic symphonic musical sound to 80s pop... I love it all.

Chess has been recorded multiple times, in many languages. The Swedish Chess på svenska from 2002 is one of my top five musical cast recordings of all time. The score, the singers, the orchestra, the orchestrations, the sound quality of the recording... As a piece of music and as an album, it's absolutely perfect. I can listen to it time and time again, multiple times in a row, and the music floors me every time. Every song is a beautiful part of a gorgeous whole.

The Arbiter from GöteborgsOperan's production of Chess på svenska, with identical twins Henrik and  
Magnus Rongedal playing the character together. Maybe my favourite take of the song out there!

When it comes to dramaturgy, Chess and Kristina från Duvemåla both have their fair share of problems. But the way I enjoy them... For me, they're as much symphonies as they are pieces of theatre. Maybe more so. What does it matter that the plots are little clunky when the music flows forward with such beauty, beauty I have yet to find in any other musical?

There is plenty of good music out there, great music, songs I enjoy. Musicals and other genres. But nothing, nothing stops me on my tracks like these two musicals do.

Listen to Chess and Kristina on Spotify:

Chess på svenska – My favourite. I recommend listening to this even if you don't speak a word of Swedish. The music has it all.

Chess original cast recording – If you want to familiarise yourself with the original, English-speaking edition of the show. Rather more... 80s than the Swedish one.

Chess highlights – This short album from 2012 features a mostly Nordic cast (Maria Lucia, Jonas Malmsjö, Philip Jalmelid, Signe Kærup Hjort and Robbie Scotcher), English lyrics and enjoyable interpretations of the nine songs included.

Kristina från Duvemåla – The original, nearly three-hour long Swedish cast recording. What can I say. For me, it's perfect.

Kristina at Carnegie Hall – If you are not familiar with the show, I warmly recommend this English concert recording, complete with narration. It gives a good overview of the plot and the songs.

P.S. I have had a literal close encounter with my idols. In the last performance of Kristina från Duvemåla in Svenska Teatern in 2013, me and my friend sat two or three rows behind Benny Andersson himself – and then, after the show, I almost crashed into Björn Ulvaeus on my way downstairs. Huh! Maybe some braver soul would have approached for an autograph, but for shy little me, the fact I got to experience the incredible musical with the creators themselves joining us in the audience is quite enough to still make me smile.

P.P.S. A note on the other Andersson/Ulvaeus musical, Hjälp sökes (2013): I have listened to it once and didn't really feel it – but I'm waiting for the right moment to give it a second chance. I'm sure there's more for me to explore there than what met the ear during the first listen.

Wildhorn

Frank Wildhorn.

The composer of musicals such as Jekyll & Hyde, The Scarlet Pimpernel, Dracula, Bonnie & Clyde... The composer I love to hate and hate to love. I rave about his musicals and watch them time and time again. I travel to foreign countries for them. And if you ask me, I will let you know that I detest them, loud and clear.

In this post, I try to explain what is going on with this love–hate relationship.

I've been a musical fan for about eight years. For most of that time, Frank Wildhorn's shows have had a place in my collection of cast recordings.

I can't even remember when I bought my first recordings of Jekyll & Hyde, Dracula and Rudolf, it's been such a long time. For years, though, I only enjoyed them as music. I popped the CDs into my player every now and them, hummed along Facade or Zu ende, but didn't ever bother finding out what the musicals are about. They were enjoyable showtunes for me, nothing more.

It was the closing of the first Finnish production of Jekyll & Hyde in 2014 that finally pushed me over the edge. Trying to fill the hole the production left, I delved deep into Wildhorn's work and actually started watching his musicals.

After marathoning through a slew of bootlegs, me and my friend compiled the bingo you can see above.

Frank Wildhorn has collaborated with multiple lyricists and writers. So how is it even possible all of his shows feature the exact same clichés and weaknesses? Whatever source material he works with will be mangled beyond recognition as the creative team removes layers of depth and characterisation to make way for a forced love triangle.

There is a lot to criticise when it comes to these shows, but my least favourite thing is Wildhorn's women.

Wildhorn's musicals aren't the only works of musical theatre that feature stereotypical portrayals of women. But the way these musicals depict ladies is especially egregious – all the women ever talk about is the leading man. Talented actresses often do wonders with the roles, but the material they have to work with... The character may be called Emma, Mina, Mary or Marguerite, but since all she does is pine after her man in a generic manner, it feels like we're seeing the same character again and again. Boo.

It's annoying how fond Wildhorn is of depicting love triangles. Whether it's a lady trapped in between a bad guy and a good guy, or a dude who gets to choose in between two shades of bland, Wildhorn's musicals are always certain to feature half a dozen boring love duets. So boring they're sometimes literally interchangeable in between musicals. (See: Only Love from The Scarlet Pimpernel / Only Love from Rudolf)

Lucy and Hyde ready to duet. Jyväskylän kaupunginteatteri, 2015.
Photo by Jiri Halttunen.

Love duets aside, the music is the saving grace of these musicals. When Wildhorn's music is good, it's fantastic.

One of my favourite musical songs of all times is Alive from Jekyll & Hyde. You don't even have to listen to the words. The joy of being alive, the feeling of being Edward Hyde, is all there in the melody. Many of Wildhorn's faster-paced tunes are amazing like that: full of energy, telling us all about the character and their outlook on life. I love his energetic villain songs and rousing ensemble tunes. Sometimes, the whole score soars. Listen to Dracula for an hour and a half of perfection.

What's more, I often like the subjects Wildhorn picks. His musicals are oftentimes based on classic works of literature, on stories that are full of drama, memorable characters and fascinating themes. There are plenty of intriguing aspects to these musical adaptations, even if they often turn out a bit garbled.

For me, a part of the charm is imagining how the shows could be made better. There are plot holes and silly clichés, but often, it seems like just removing a song or adding a line or two of dialogue could do wonders. The scripts of many Wildhorn shows have indeed been edited multiple times. With five or six script editions out there, Jekyll & Hyde has been work in progress for the past 30 years.

But even without rewrites, there is so much potential to these musicals. If the cast and crew really put their hearts to it, almost any Wildhorn musical's positive qualities can and will outshine the bad. (I say almost – I'm unsure if Rudolf can ever be salvaged.)

Sometimes, actors and directors can make inventive decisions that lift their production way above the source material and really make you think. See, for example, my review of the recent Danish production of Jekyll & Hyde. With imagination, the gothic fairy tale was turned into a haunting exploration of cause and effect.

For a production like that, I'll sit through a hundred of those boring love duets.

Mina and Dracula ready to duet. Theater Pforzheim, 2012.
Photo originally from the theatre's Facebook.

My least favourite Frank Wildhorn musical is Rudolf – Affaire Mayerling. It's awful, depicting double suicide as the height of romance. Focusing on Crown Prince Rudolf of Austria's death that is also portrayed in the 1992 hit musical Elisabeth, Rudolf (2006) seems like an attempt to cash in on the earlier musical's success. The plot is distasteful, historically inaccurate and illogical. As fellow blogger Laura puts it, this musical sucks.

And yet, and yet... I haven't one but two dream casts for Rudolf, all depending on the turns my imaginary direction takes. I can't stop thinking which of my favourite actors would be perfect for the musical's roles.

Rudolf's music is gorgeous, and despite (or because of?) all its awfulness, it's so much fun thinking of how the show could potentially be improved. I sincerely hope no theatre in a thousand-mile radius as much as thinks of producing the musical. Yet in my heart I know if it ever comes to that, I won't hesitate boarding a plane and flying to any of the neighbouring countries to see the musical's Nordic premiere. 

And indeed, the best thing about being into Wildhorn's musicals is that they take me on adventures.

Sometimes, literal adventures: soon, I've traveled to Germany twice to see them. Sometimes, they brighten up my life in other ways: I have first encountered some of my all-time favourite actors via Wildhorn's musicals. What's more, the shows are such a fun subject to diss and discuss with likeminded friends, to dreamcast and to speculate about, to blog and to draw fanart about. It feels so good to be passionate about something.

For me, despite all their faults, these musicals are inspiring.

Two women duet about loving a man. Bingo!
Det Ny Teater, 2016. Photo by Miklos Szabo.

I still haven't listened to all of Wildhorn's recorded musicals.

When it's good, it's brilliant, but a little of Wildhorn usually goes a long way. So I'm saving treats such as the demo recording of Svengali and whatever Sound of Music decides to add to their Frank Wildhorn shop next for the right moment. It's a special sort of mood I need to be in when delving into a new Wildhorn show, a mix of excitement and calm, curiosity and patience.

When I have familiarised myself with a new show, however, I tend to listen to it lots. So, to finish off this blog entry, I've compiled a little playlist of my Wildhorn favourites for you.

Ranging from unironically gorgeous to nonsensical-yet-entertaining, from pure musical perfection to awful-in-content-but-beautiful-in-tune, each of the songs on the list has some quality that I admire in Wildhorn's work.

Starting here:

I want to end with two questions to all readers who are familiar with Frank Wildhorn's work.  

What are your favourite Wildhorn musicals and songs? Do you have some show or tune you (love to) hate?  

Please share your thoughts with me in the comments!

Related reading: My Top 5 Frank Wildhorn Disappointments, The Beginnings of Jekyll & Hyde

Uttersons

G. J. Utterson is one of my all-time favourite characters.

Maybe you're new to my blog, or haven't been paying attention to every detail of the rambles I've been publishing over the past couple of years. So you ask – who?

Doctor Henry Jekyll's level-headed lawyer friend from the novella-turned-musical Jekyll & Hyde, I answer.

Why on earth would that be anyone's favourite character, you ask. And that's what I'm here to explain. Ever since falling in love with this musical, I've spent countless hours discussing and analysing Utterson. Here, I'm going to compile my thoughts about the character in one post.

A scene from Det Ny Teater's Jekyll & Hyde, featuring Kurt Ravn as Utterson.
Photo by Miklos Szabo.

Let's start from the beginning. Gabriel John Utterson is the point-of-view character of Robert Louis Stevenson's original novella Strange Case of Dr Jekyll and Mr Hyde. The book follows him investigating the relationship in between his old friend Henry Jekyll and the evasive evil-doer Edward Hyde.

In the Frank Wildhorn musical, Utterson is a mashup of his book counterpart and another novella character, Dr. Lanyon (an old acquaintance of Dr. Jekyll's who witnesses Hyde turning into Jekyll). Musical Utterson is a lawyer who handles Jekyll's affairs, and since Jekyll is getting married in the show, he's also Jekyll's best man. It's implied he's good friends with Jekyll, and... that's about it. Utterson doesn't have too much personality of his own, unless you count "protests spending the night in a house of ill repute" a character trait.

I've touched upon this in an earlier blog entry. In a way, the musical version of Utterson is a stereotypical badly written female character. He only exists in relation to the leading man with no agency of his own. He's there because Jekyll needs someone to talk to (and heaven forbid that someone be Emma or Lucy – the women of Frank Wildhorn's musicals simply do not work that way) and because his reactions to Jekyll's actions keep the plot moving forward.

Even so, Utterson is important. I've probably mentioned it before that I relate to Jekyll and Hyde's story via Utterson. For me at least, it's pretty hard to identify with a mad scientist who splits his soul in half, and the musical's women are a bit too stereotypical to feel real. But then there's Utterson. He's the everyman, someone who tries to help his friend but cannot save him. Knowing a loved one's in trouble but not being able to help – I guess most of us know how that feels.

Utterson is not a completely realistic character either. He is the ultimate friend, almost unrealistically loyal. Jekyll doesn't understand how good he has it, having someone as trustworthy as Utterson in his life. Finding out that his best friend has murdered several people doesn't matter, he still stands by his side.

That sounds too good to be true, and I suppose that's because the character's arc was given a grand total of two thoughts during all the years Jekyll & Hyde was under development. Above all, Utterson is a plot device. The script doesn't bother explaining why he keeps supporting his friend, even when said friend first behaves like a jerk and then turns out to be a serial killer.

When you just look at the script, Utterson is likeable, but hardly favourite character material. Personally however, even though it sounds odd, I'm fascinated by theatrical characters that don't have many defining characteristics in the script. It's extremely interesting to see how different actors and directors choose to portray them. When the script only offers a vague outline, how will they finish the sketch and colour the picture?

Depending on the production, Jekyll & Hyde only has two or three
songs that feature Utterson. Here's one of them.

Utterson is a plot device. Yet I cannot understand why many productions treat him as one.

Watching Jekyll & Hyde videos online, from Broadway and theatres all around the world... Sometimes, actors make the best out of the material they're given and make Utterson a sympathetic, caring gentleman – check out Broadway's George Merritt for a charming performance. But all too often, the character doesn't seem to care. Best friend getting married? Meh. Best friend shutting himself in his laboratory for weeks? Blah. Best friend turns out to be a murderer? Nah.

Amidst the paper-thin characters and two-dimensional romances of Jekyll & Hyde the musical, Jekyll's friendship with Utterson is actually the most meaningful relationship the titular character has. Unlike the ladies, Utterson knows Jekyll's secret, and he is the one Jekyll turns to for help, time and time again. I believe he has more scenes with Jekyll than either of the women. So for the life of me, I cannot understand the productions that don't make something out of that. Why settle for blandness when you can have worry, shock and/or despair!

Luckily, I've only had to be annoyed at Youtube videos so far. Seeing Jekyll & Hyde the musical live, I've only encountered good Uttersons. Or absolutely amazing.

Severi Saarinen as Utterson, Riku Nieminen as Hyde in
Turun kaupunginteatteri's production. Photo by Robert Seger.

My favourite Utterson is Severi Saarinen, who played the role in Turun kaupunginteatteri's 2013–2014 production, directed by Tuomas Parkkinen. Seeing the show for the first time, I liked the character. Seeing the show for the seventh and final time, I was in love.

My first couple of times seeing Jekyll & Hyde were spent admiring the spectacle. Musicals in general are not a subtle medium, and even with that in mind, Jekyll & Hyde can hardly be called a subtle show... So it took me a handful of performances to look beyond the blood, explosions and showstopping ballads and to start wondering what's really going on in the characters' minds.

It turned out there was quite a lot of going on, in Utterson's mind especially. Paying more attention to the performance, I came to the conclusion that Utterson was unrequitedly in love with Jekyll (played by Riku Nieminen). It was rather discreet, since there is of course nothing in the dialogue that affirms it – but you could see it in the way Utterson reacted to Jekyll. Talk about a heartbreaking character arc. From bitterness in Jekyll's engagement party to sorrow in the final scene... It's been two years since the production closed and I still feel touched. 

Even with that undercurrent, I really liked how Utterson and Jekyll felt like true lifelong friends. I imagined they had known each other since childhood, had maybe gone to school together, had always been a part of each others' lives. It felt like a very real friendship in between two young adults, with a heartbreaking edge, if you paid close attention. I was also delighted by Utterson's somewhat misplaced sense of humor, with him at one point making such a terrible joke that he had to apologise for it. That felt like a perfect characteristic for a character who, in the original novel, calls himself Mr. Seek since he's looking for Mr. Hyde.

To this day, Saarinen's Utterson remains on my list of all-time favourite theatrical performances. I've been wondering how it's even possible for one performance to leave such a big, lasting impact on me. Sure, it's no secret Saarinen is one of my all-time favourite actors, there's just something about his stage presence that gets me every time. But beyond that, the performance made the whole story feel more real to me.

We're talking about a show where the main conflict revolves around a guy melodramatically tearing his soul in two and then going on a murder spree. In a grand horror story about good and evil, observing a character quietly go through his personal heartbreak that suddenly gets amplified to larger-than-life proportions... It helped me to think of the musical's characters as real people. To me, relating to the story from Utterson's point of view made it feel so much more heartwrenching and relatable, and therefore way more memorable.

A scene from Jyväskylän kaupunginteatteri's Jekyll & Hyde,
with Hannu Lintukoski as Utterson. Photo by Jiri Halttunen.

There is also another Finnish Utterson I really like. The second Finnish production of Jekyll & Hyde, directed by Anssi Valtonen, premiered last fall in Jyväskylän kaupunginteatteri. I'm quite charmed by their Utterson, played by Hannu Lintukoski.

In many ways, this performance is closer to the calm and serious character from the novel, but there's also a unique spin to it. Lintukoski plays opposite two Jekylls, Henri Halkola and Joni Leponiemi. These guys are all a bit older than the Saarinen/Nieminen combo, and here, Utterson seems to be the more mentally grown-up member of the duo. Therefore the characters' relationship turns into that of an older brother and a younger brother. I imagine the whole Utterson family are longtime friends of the Jekyll family. Or maybe Utterson used to work for Jekyll's father when starting out his career and grew fond of young Henry. 

Whatever the case, the way I see it, this Utterson looks after Jekyll like a proud but slightly worried big brother. He wishes Jekyll would succeed in his experiment and feels it's sort of his duty to support him. At the same time, he is too much of a realist to ignore the dubiousness of Jekyll's ideas.

This Utterson is both a reserved gentleman and the comic relief of the story. The production gives him comedic moments, most notably in The Red Rat (the poor guy wishes he could be anywhere else, or maybe dead). Yet in the second act, the character is very convincing in his worry and sadness. Not an easy combo to pull off, but Lintukoski does a fantastic job. Especially impressive when you remember how flat the character is in the script.

These two favourite performances couldn't be any more different. And still, at heart, they're the same character – and I adore them both! That's what makes vaguely written theatrical characters so fascinating to me. You can have vastly different interpretations that still make complete sense in the context of their respective productions.

Next time I'm seeing Jekyll & Hyde will be in Germany this June, an outdoor performance by Theater Vorpommern. I'm traveling escpecially for the actor playing Jekyll/Hyde – but of course I already know which character I'm going to pay special attention to. Here's to hoping I'll have an interesting performance to add to this list next month!

Photos by Miklos Szabo, Robert Seger and Jiri Halttunen.
Related reading: my reviews of Turun kaupunginteatteri's and Jyväskylän kaupunginteatteri's productions of Jekyll & Hyde.

Musical Fan Art and Me

A while ago, a friend and fellow blogger Pieta wrote a fascinating text (Finnish only) about musical fan art that really got me thinking. I'm a musical fanartist but I haven't ever really discussed the topic in this blog. Maybe it's about time!

One of my first pieces of musical fanart.
Cats in Lahden kaupunginteatteri. 2008.
Based on the production's poster.

My relationship with art is just like anyone else's who enjoys drawing: I've been drawing as long as I can remember. It's something I cannot not do. Attending art lessons, sketching my favourite movie and anime characters, always drawing in my sketchbook in school...

I have never aspired to become a "real" artist. First and foremost, drawing is a way for me to relax and to have fun. I've always enjoyed drawing fictional characters I like, so once I got into musical theatre, it was only natural I started sketching the characters I saw onstage.

Les Misérables. 2010.

Over my eight years as a musical fan so far, I've created hundreds and hundreds of pieces of musical fanart. Traditional, digital, drawings, paintings, quick sketches, comics, detailed drawings... My fanart archive has it all.

When a musical catches my attention, I enjoy reliving it via fanart. Often, drawings help me to process the experience. Many times, I feel I'm not really done with an interesting show if I haven't drawn a single sketch based on it. It's like the show keeps nagging at my brain until I put it down on paper, as a quick sketch or two at least.

Or as a character lineup. Les Misérables, Åbo Svenska Teater. 2010.

 

Les Misérables, Åbo Svenska Teater. 2012.
Based on a promotional image for the production.

Of course, seeing dozens of shows every year, there is no time to draw something based on all of them. Instead, I tend to focus on one favourite at a time.

For many many years, that number one favourite used to be Les Misérables. Les Mis has everything: period costumes, blood and action, fascinating relationships, serious characters to make fun of. Zombies? Laser? Cats? There are Les Mis drawings in my archives that feature it all.

Last page of a fancomic – Jean Valjean and Javert
enjoying a nice cup of tea. 2011.

The Hero of the Republic – Laser Enjolras. 2013.

Three Enjolrati about to overthrow a government. 2013.
This is one of my personal favourite drawings.

Nasty fandom infighting and finding new favourite shows has made Les Mis take a backseat in my brain for a while. I still return to it every now and then, but for the past two years, I've been especially fascinated by another show – the first Finnish production of Jekyll & Hyde in Turun kaupunginteatteri.

For reasons I cannot really explain (though I have tried), the show hit me like a ton of bricks. It invited me into its world and hasn't let me out ever since. The production's run ended two years ago, so I cannot see the show I fell in love with anymore. But via fanart, I can still travel back to Jekyll and Hyde's London.

Hyde feeling alive. 2014.
Based on Robert Seger's gorgeous photo.

Jekyll, Utterson and Sir Danvers Carew's port wine. 2014.
Another personal favourite.

Edward Hyde. 2015.

Lucy and Utterson. 2016.

Sometimes, it's fun to replicate production photos. But usually, my fanart isn't about repeating what I see onstage.

Whether it's changing character designs (if I think a character should have a new costume – or different hairline, nose or whatever than the actor portraying them onstage – in my drawings, it's within my power to make those changes) or coming up with new scenes for my favourite characters... I'm trying to put my own spin on the show in question, not to make a carbon copy of anything.

Glinda and Elphaba from Wicked. 2013.

Fanart gives me a way to explore the stories and characters further, to portray them in my own way. I suppose many fanfiction writers feel similarly about their texts. I think in many ways, it's the same thing, we just work with different media. We fans cannot alter the musical productions we see nor stage our own, but we can put our own interpretations and feelings on paper.

Fantine. 2013.

This is not to say all of my drawings are deep explorations of something. Some are to capture and share onstage moments that would otherwise be lost forever. And many of them are just for fun. I love making people smile and laugh with my drawings.

Some years ago, I often drew pictures that showed characters from different musicals getting together to have a party. One of my all-time favourite subjects is to show a character doing some silly thing that would never happen onstage. The more serious the character, the better!

A musical pyjama party. 2010.

Enjolras in a hurry. 2014.

And sometimes it's just very relaxing to sketch your favourite characters and forget everything that stresses you out for a while. First and foremost, I draw for myself. For my own amusement and artistic growth.

Some characters simply have a design that's fun to draw.
Judas, Åbo Svenska Teater's Jesus Christ Superstar. 2015.

Or Professor Abronsius.
Helsingin kaupunginteatteri's Tanz der Vampire. 2016.

Even so, it's nice to show others what I have created. I'm sure you've noticed that if you follow any of my social media accounts... Fanart can be a way of sharing an especially inspiring theatrical performance with others.

Father and daughter Carew.
Jyväskylän kaupunginteatteri's Jekyll & Hyde. 2015.

And of course it's nice when my art gets noticed. If I'm feeling especially confident about some sketch, I may tag the theatre or actor who inspired it – and I always feel a little freaked out doing that. I want to show them that they made an impression on me and inspired me to draw, but at the same time... What if they don't like my drawing! A like or a comment from the person tagged can be a nice ego booster.

Some other drawings are, first and foremost, meant for my fellow fans. Sometimes, it's nice turning shared interpretations, fan theories or fandom inside jokes into drawings. Nothing better than making a fellow fan happy, or emotional.

Seinäjoen kaupunginteatteri's Count von Krolock meets
Helsingin kaupunginteatteri's Count von Krolock. 2015. 

But even so, I would keep drawing musical fanart even if my sketches never got any likes. It's such an important way for me to process and relive the musicals I have seen.

Sarah's daydream. Loosely based on Helsingin kaupunginteatteri's
production of Tanz der Vampire. 2016.

It's not possible to draw fanart based on all shows I like. But when it comes to the most memorable experiences, the shows that really touch me, I think I will always keep a sketchpad on hand. It's one of my favourite feelings, a piece of theatre inspiring me to create something of my own.

My latest finished piece of fanart.
Utterson and Jekyll, Turun kaupunginteatteri's Jekyll & Hyde. 2016.