Pieni pohjoismainen hintavertailu

Helsingin kaupunginteatteri julkisti tänään musikaalifanien piireissä pitkään ja innokkaasti spekuloidun uutisen: Moulin Rouge! -musikaali saa Suomen ensi-iltansa HKT:n suurella näyttämöllä elokuussa 2024.

Kyseessä on yhteispohjoismainen tuotanto, joka on tänä syksynä jo ehtinyt saada ensi-iltansa Tukholmassa, Oslossa ja Kööpenhaminassa. Helsingissä nähdään siis ensi vuonna samalla tavalla ohjattu, lavastettu ja puvustettu esitys kuin muissakin pohjoismaisissa pääkaupungeissa, näyttelijät pukujen sisällä vain vaihtuvat.

Tämä tarjoaa meille herkullisen tilaisuuden pieneen hintavertailuun. Kuten edellä avasin, kaikissa pohjoismaisissa pääkaupungeissa on myynnissä tismalleen sama musikaalituote. Miten tämä tuote on eri maissa hinnoiteltu?

Olen jättänyt vertailusta pois dinner & show -liput, hotellipaketit, ryhmäalennukset ynnä muut pakettitarjoukset käsiohjelman ja mahdollisesti jotain muuta ekstraa sisältäviä VIP-lippuja lukuunottamatta. Vertailun hinnat ovat perushintoja eikä niissä oteta huomioon alennuskampanjoita. Valuuttamuunnoksiin käyttämäni kurssit ovat maanantain 27.11.2023 keskikursseja.

 

Hey, must be the money! Moulin Rougea ruotsalaisittain. Kuva: Mats Bäcker

Moulin Rouge!, Chinateatern (2Entertain & Vicky Nöjesproduktion), Tukholma

• VIP (sis. käsiohjelman, juomalipun ja paikan keskipermannolla) 
• 1 395 SEK
• 121,99 €
  
• Premium (keskipermannon rivit 6–11) 
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• 95,76 €
• Kategoria A (keskipermannon rivit 3–5 ja 12–15 sekä permannon laitojen rivit 10–17)
• 995 SEK
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• Kategoria B (keskipermannon rivit 1–2, permannon laitojen rivit 5–9 ja parven rivit 1–4)
• 895 SEK
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• Kategoria C (parven rivit 5–11)
• 695 SEK
• 60,78 €
  
• Kategoria D (parven rivit 12–15) 
• 555 SEK
• 48,53 €
• Kategoria E (parven rivi 16, rajattu näkyvyys) 
• 395 SEK
• 34,54€

 

Moulin Rouge!, Chateau Neuf (Taran), Oslo

• Pöytäpaikat näyttämön vieressä 
• 1 325 NOK
• 113,40 €
• Istumapaikat katsomossa, kategoria 1 
• 1 070 NOK
• 91,58 €
  
• Istumapaikat katsomossa, kategoria 2 
• 920 NOK
• 78,74 €
• Istumapaikat katsomossa, kategoria 3 
• 825 NOK
• 70,61 €
  
• Istumapaikat katsomossa, kategoria 4 
• 555 NOK
• 47,50 €

 

Moulin Rouge!, Falkonersalen (One & Only Musicals), Kööpenhamina

• Diamond (sis. teosesittelyn, käsiohjelman/kirjasen, lasillisen kuohuvaa ja istumapaikan)
• 1 298 DKK
• 174,08 €
  
• Lipputyyppi O 
• Ke–to 978 DKK
• Ke–to 131,16 €
  
• Pe–su 1 048 DKK
• Pe–su 140,55 €
• Lipputyyppi A+ 
• Ke–to 848 DKK
• Ke–to 113,73 €
  
• Pe–su 918 DKK
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• Lipputyyppi A 
• Ke–to 698 DKK
• Ke–to 93,61 €
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• Pe–su 102,10 €
  
• Lipputyyppi B 
• Ke–to 548 DKK
• Ke–to 73,49 €
  
• Pe–su 618 DKK
• Pe–su 82,88 €
  
• Lipputyyppi C (pyörätuolipaikat) 
• Ke–to 448 DKK
• Ke–to 60,08 €
  
• Pe–su 468 DKK
• Pe–su 62,77 €
  
• Lipputyyppi D 
• Ke–to 298 DKK
• Ke–to 39,97 €
• Pe–su 348 DKK
• Pe–su 46,67 €

 

Ennen kuin paljastan loppuhuipennuksena Helsingin kaupunginteatterin hinnaston, haluan nostaa esille erään seikan – tosin sillä varauksella, että en ole pohjoismaisten teatterien nauttimien julkisten tukien asiantuntija. Olen tehnyt parhaani asian varmistamiseksi, mutta jos joku tämän tekstin lukija tietää minun olevan väärässä, toivon, että virheeni korjataan kommenteissa pikavauhtia.

Käsitykseni tilanteesta on kuitenkin seuraava: edellä mainitut teatterit ovat kaikki tuottaneet Moulin Rougensa yksityiseltä pohjalta. Toisin sanoen kotoinen HKT:mme on vertailun ainoa säännöllistä valtiontukea nauttiva taidelaitos.

Katsotaanpa sitten niitä hintoja.

Moulin Rouge!, Helsingin kaupunginteatteri, Helsinki

• VIP (sis. käsiohjelman ja paikan keskipermannon riveillä 5–7) 
• 102 €
• Peruslippu 
• 92 €
• Näkörajoitteiset aitiopaikat parvella
• 22 €
• Opiskelijalippu (saatavilla vain ma–to) 
• 46 €
• Eläkeläislippu (saatavilla vain ma–to) 
• 89 € 

 

Jokainen teatteri hinnoittelee totta kai tuotteensa ennen kaikkea sen mukaan, missä se arvioi oman yleisönsä kipurajan kulkevan, mutta tästä vertailusta herää silti muutamia ajatuksia. Niistä seuraavaksi.

Vertailun teattereista HKT erottuu kahdella tavalla: toisaalta se on ainoa, joka tarjoaa opiskelija- ja eläkeläisalennuksia (vaikka joku minua ilkeämpi ihminen voisikin nimittää arki-iltojen kolmen euron eläkeläisalennusta silkaksi pienituloisille eläkeläisille vittuil... enpä taidakaan jatkaa tätä ajatusta loppuun.) Toisaalta se on ainoa, jonka koko katsomo eturivistä aina parven takaosaan on hinnoiteltu yhdeksi ja samaksi hintaryhmäksi, à 92 €.

Tai no, onhan siellä vähän variaatiota. HKT:n permannon keskellä ovat perushintaa kalliimmat VIP- ja dinner & show -vyöhykkeet, ja näkörajoitteisilta aitiopaikoilta pääsee köyhäkin kurkistelemaan näyttämön tapahtumia. Näitä aitiopaikkoja on katsomokartasta laskettuna 14 kpl per esitys. Suuntaa-antavan Lippupiste-haun perusteella ne vaikuttavat jo myyneen melkein kaikista Moulin Rouge! -esityksistä loppuun.

Oli miten oli, minua kylmäisee huomata, miten paljon HKT:ia paremmin vertailun muut pohjoismaiset teatterit ottavat huomioon vähemmän varakkaat asiakkaansa. Ei niissäkään halvoilla hinnoilla juhlita, mutta sataa euroa lähestyvien helsinkiläisten peruslippujen rinnalla alta viisikymppiä Tukholman takarivistä alkaa vaikuttaa ihan kivalta diililtä.

En käy tässä väittämään, että olisi mikään tasa-arvon riemuvoitto mahdollistaa pienituloisille katsojille pääsy takaparvelle siinä, missä hyvätuloiset nautiskelevat etupermannon näkymistä – mutta on se kuitenkin tasa-arvoisempaa kuin se, ettei pienituloisille musikaalien ystäville ole muutaman näkörajoitepaikan lisäksi tarjolla yhtään mitään. HKT:n arki-iltojen alennukset eivät mielestäni riitä palvelemaan pienituloista yleisöä, sillä ne eivät lainkaan ota huomioon sitä, että pienituloisuus voi esimerkiksi sairauden tai työttömyyden muodossa koskettaa meistä jokaista, ei ainoastaan opiskelijoita ja eläkeläisiä.

Kaiken kaikkiaan suomalaisten musikaalien viimeaikainen hintakehitys (asiaa perkaa tämä Musikaalimatkassa-podcastin jakso), HKT:n Moulin Rouge! viimeisimpänä esimerkkinä, herättää pohtimaan seuraavaa: ovatko valtionosuusjärjestelmään kuuluvien teatterien musikaalit muuttumassa luksustuotteeksi, jonka ei ole tarkoituskaan olla kaikkia katsojia varten? Kuuluisiko julkisista varoista tuetun teatterin tarjota pääsy kaiken ohjelmistonsa pariin myös pienituloisille kansalaisille, vai onko ihan ok, että ohjelmistoon sisältyy teoksia, joista vähävaraiset hinnoitellaan lähtökohtaisesti ulos?

Kaikki muut vertailumme teatterit pystyvät, ilmeisesti konkurssiin menemättä, kauppaamaan köyhemmälle musikaalikansalle sentään muutamaa takariviä puoleen hintaan katsomon parhaisiin paikkoihin verrattuna. Niinpä haluaisin kovasti uskoa, että musikaalielämykset pienituloisille katsojille mahdollistava hinnoittelu olisi mahdollinen myös HKT:ssa ja muissa suomalaisissa vos-teattereissa – jos niin siis vain haluttaisiin toimia.

Lopuksi, koska olen sillä tavalla ikävä ja pikkumainen ihminen, ajattelin esitellä teille kaikille erityisen kalliin taidelaitoksen maineessa olevan Suomen Kansallisoopperan Lepakko-operetin tammikuun 2024 esitysten hinnaston. Ihan vain vertailun ja perspektiivin vuoksi.

 

Lepakko, Suomen Kansallisooppera

• Hintaryhmä A 
• 110 €
• Hintaryhmä B 
• 99 €
• Hintaryhmä C 
• 89 €
• Hintaryhmä D 
• 75 €
• Hintaryhmä E 
• 65 €
• Hintaryhmä F 
• 59 €
• Hintaryhmä G 
• 49 €

Hinnoista on mahdollista saada seuraavat alennukset:

• Nuorisoalennus 20-vuotiaille ja sitä nuoremmille
  
• -40–50 % lipun hinnasta 
• Ei koske hintaryhmiä F ja G
  
• Alennus opiskelijoille, varusmiehille ja siviilipalvelusmiehille
  
• -40 % lipun hinnasta 
• Ei koske hintaryhmiä F ja G
• Eläkeläisalennus
  
• -10 € / lippu 
• Koskee rajattuja paikkoja permannolla ja 1. parvella
• Liput saman päivän esitykseen alle 20-vuotiaille ja sitä nuoremmille, opiskelijoille, varusmiehille, siviilipalvelusmiehille, työttömille ja eläkeläisille 
• 20–50 € / lippu

Em. alennukset koskevat muuten myös viikonloppuja.

Shrektacle, Shreplicated

Please note: Helsingin kaupunginteatteri offered me a free ticket to see their production of Shrek.

First things first: did you know Shrek, the 2001 Dreamworks animated hit with three sequels, is based on a book?

I sure didn't, but that's true! Shrek was originally written and illustrated by British author William Steig in 1990. The book tells the story of an ugly ogre who meets an even uglier princess and falls madly in love. There is no short-statured lord evicting fairytale creatures out of his kingdom, and the donkey doesn't talk much, but the basic framework of the story we know and love is all there. Who knew!

I learned this tidbit in the souvenir programme for Helsingin kaupunginteatteri's new production Shrek the Musical. So, let's now try to ignore how this fact has turned my world upside down and instead take a look at the show itself...

Shrek the Musical premiered on Broadway in 2008. Written by David Lindsay-Abaire, I think it's a nice adaptation of the movie. It has all the jokes and scenes you remember from the film, but at the same time, it gives the characters new depth. Lord Farquaard's backstory is funny, and acceptance is always a good theme for a family show.

I think the musical's biggest problem is actually the original movie's amazing, effective soundtrack.

I mean ridiculously, absolutely ridiculously effective. The film's use of the song Hallelujah has ruined the Leonard Cohen classic and all its covers for me for good – ever since seeing the movie as a 9-year-old, Shrek has been the first thing I think of when hearing it, and I guess that's how it will be for the rest of my life. And I haven't even watched the movie since I turned 12.

I'm not saying they should've made it a jukebox musical, but it's a bit of a problem that none of Jeanine Tesori's songs are half as catchy as the tunes featured on the movie's soundtrack. The music is easy to listen to and easier to forget.

The musical's pacing is also uneven. The first act moves in fast forward, but when the second act starts, it turns out 80% of the plot has already been told and we enter the Ballad Zone. Luckily, after half an hour of stalling, the pace picks up again. In the end, if nothing groundbreaking, it's still a neat enough show.

And now, Shrek has arrived to Helsinki.

Helsingin kaupunginteatteri's take is not the first Finnish production of Shrek. Jyväskylän kaupunginteatteri called dibs in 2013. 22 000 audience members and three years later, the musical comes to the Finnish capital – again helmed by director Kari Arffman and featuring the very same dragon.

It's a mixed bag.

The characters are all charming. I had the luck of seeing understudy Raili Raitala in the role of Princess Fiona. If you didn't know better, you'd think you're watching the principal perform! Raitala is funny and brash with all the qualities a demure princess should not display... In other words, a perfect Fiona. Matti Leino's bubbly and all-around loveable Donkey is another favourite.

Petrus Kähkönen's Shrek is also a likeable creature, but amongst the other colourful characters, the titular ogre feels almost mundane. It's by no means Kähkönen's fault. It's just that when compared to his eccentric princess and his energetic sidekick, our hero, who mostly just wants to be treated with respect and then be left alone, is not all that enthralling. (Fun fact, though: Raitala and Kähkönen played Alfred and Sarah in a recent Finnish production of Tanz der Vampire. It was fun watching them play such a different sort of couple this time!)

Finally, thumbs up to Antti Timonen for walking, running and even dancing on his knees whole night long as the short and evil Lord Farquaard. His deliriously happy run to get the wedding preparations started was the highlight of the whole night for me!

So far, so good – but where I think the production stumbles is the stagecraft. It tries to be a replica of the big and expensive Broadway original and a much smaller production at the same time.

Helsingin kaupunginteatteri's big stage is currently under renovation. The replacement stage for musical productions, Peacock Theatre, has no space to store sets and minimal stage technology. So, instead of big setpieces and special effects, we get 2D sets, designed by Samuli Halla, and a rather puny dragon (the doll itself is neat, but the dragon's second appearance in the musical's climax... Quite underwhelming).

Taken a bit further and completely divorcing it from the movie, the flat approach could have given the show a nice illustrated storybook look. But as it is, it occupies a weird middle ground in between intentionally naïve and cheap-looking. Combined with costume design straight from Broadway... The combo doesn't quite work for me. It needs more oomph.

I's admirably ambitious for Helsingin kaupunginteatteri to produce Shrek on such a difficult stage. Ultimately, however, I don't know if it's a very good decision to cram a big fantasy musical in such a small space. I believe this fairytale world would have worked much better if the theatre had waited for a bit and produced it on their big stage.

So. The current Helsinki Shrek is an odd combination: a carbon copy of Broadway the original when it comes to costumes, a pocket-sized version when it comes to sets. But would it have been quite perfect if done big, either?

I have railed against replica productions before. I will rail against them again. If you ask me, replicas should never be made. Especially not if the original production is available on DVD and digital download, as is the case with the Broadway production of Shrek.

In a show like this, just a touch of local flavour could do wonders.

Shrek features a group of fairytale creatures who, in this replica form, all look decidedly American. There is, for example, an elf... which I only realised when the character introduced itself as one, since the elves of Finnish tradition do not look like that at all. Maybe Dreamworks Theatricals won't allow any changes, but I think it would be so much more fun if each creative team around the world could give at least the fairytale characters their own designs, drawing inspiration from the traditional stories of their respective countries.

Though actually, there is one local nod in the Finnish production: Mikko Paloniemi portrays Karlsson-on-the-Roof, an Astrid Lindgren character that's also well known in Finland. The 2013 Swedish production seems to have featured Nils Holgersson. Wonder if every production is allowed one local character?

I understand that in a musical based on an animated movie, making the world and characters look recognisable is important. At the same time, I find that approach very limiting. Luckily other projects have chosen a different route: the new musical based on the movie Anastasia shows us it's quite possible to base a musical on an animated feature and still have an unique look.

In short: in its replica form, Shrek a pretty nice musical – but how much more interesting it could be if creative teams all around the world were given free hands!

To finish off, I combined a little Youtube playlist of international Shrek the Musical trailers, starting from Helsinki. Take a look and try to spot the differences:

I wonder if it's a mandatory Dreamworks requirement to use the song I'm a Believer

 (the only song from the movie featured in the stage musical) in all promotional material?

Photos by Tapio Vanhatalo.

More reviews (in Finnish): Jälkisoitto, Lukupino, Paljon melua teatterista, Teatterikärpäsen puraisuja, Varje dag är en dag för musikaler

Sharp Teeth and Burning Passion – Interview with Finnish Sarahs and von Krolocks

Lue sama haastattelu suomeksi.

Tanz der Vampire, or, in Finnish, Vampyyrien tanssi, is currently playing in Helsinki. The new production, produced by Helsingin kaupunginteatteri, stars Anna Victoria Eriksson and Raili Raitala as Sarah and Jonas Saari and Mikko Vihma as von Krolock. In this interview, the actors share their views on portraying a vampire onstage and singing while wearing fangs.

Anna Victoria Eriksson as Sarah and Jonas Saari as Count von Krolock

Composed by Jim Steinman and written by Michael Kunze, Tanz der Vampire is one of Central Europe’s most popular musicals. The musical, based on Roman Polanski’s comedy horror film The Fearless Vampire Killers, premiered in Helsinki in February 2016. The production’s limited run ends in late April.

The cast features a Finnish vampire veteran. Raili Raitala played Sarah in the first Finnish production of the musical that premiered in Seinäjoen kaupunginteatteri in 2011. She mentions that she first encountered the story years before the Seinäjoki premiere.

“When I was a teenager, I arrived home one night and found my mother watching a film on TV. I sat down to watch it with her – and almost died of laughter. The movie was Polanski’s Fearless Vampire Killers. Years later, when the manager of Seinäjoen kaupunginteatteri was describing an upcoming musical production to me, the story somehow felt very familiar...” Raitala recalls.

Eriksson, Saari and Vihma, then, only knew the basic storyline of the musical before being cast into the new production. Before the musical premiered, Jonas Saari delved way deeper into the world of vampires.

“Some actors want to approach new roles without looking into others’ interpretations. I, on the other hand, watched every single Tanz der Vampire video I could find on Youtube. That way, you can find out about different ways to portray a character. I especially enjoyed Thomas Borchert’s interpretation of von Krolock,” Saari recounts.

“When building your own version of a character, you steal from others with no regret,” he goes on, laughing. “But even so, working on a new role is never about copying what someone else has done. When you use your own perspective to put together the bits and pieces, you create something new and unique.”

Raitala, having performed in the musical previously, notes that it was fun returning to Tanz der Vampire.

“I was already familiar with the score, so I could focus on the plot points and relationships in between the characters from day one. With two alternating casts of actors, people were throwing around new ideas left and right. That was wonderful! It’s good the production is different than the one we did in Seinäjoki. Had it been the same, it would’ve been boring for both me and the people who already saw the earlier Finnish production.”

Raili Raitala as Sarah

Something new, something borrowed

In the Helsinki production of Tanz der Vampire, two actors alternate in almost every leading role. Both casts rehearsed the show together.

“I have stolen a lot from you,” Anna Victoria Eriksson confesses to Raili Raitala.

“I was about to say the same,” Raitala laughs. “It’s good to have two different people working on the same role. That way, you can combine the best ideas from both into your own interpretation.”

“Here we go again. Acting and singing – it’s nothing but stealing. We steal from Youtube, we steal from each other. It’s only when you can’t find anything to steal that you have to come up with your own ideas,” Mikko Vihma jokes.

“We watch each other’s interpretations closely, even though we’re working from our own points of view,” he adds more seriously. “Of course the conductor or the director might tell us that even though something works when your alternate is doing it, it’s not really working for you, so let’s try something else. On the other hand, they never told us not to come up with our own interpretations. We got a lot of freedom when working on our roles.

Usually, the two alternate casts don’t mix. Raitala and Vihma play Sarah and Krolock in every second performance, while Eriksson and Saari star in every second show. Sometimes, however, the actors cover for their alternates and perform with different castmates.

“It’s exciting to go onstage with Raili. That keeps you awake, in a good way – oh, so you do this scene like that,” Saari says.

In every second performance, whenever they’re not playing the lead, the actors cover an ensemble track as Transylvanian peasants and vampires rising from their graves.

“Alternating in between the leading role and ensemble is a welcome change,” Vihma says. “Compared to playing the lead, our ensemble tracks give us a chance to relax.”

“That’s why we have two alternating casts, so we can take it a bit easier every other night,” Raitala adds.

“Of course, we could do this like they do on Broadway and in West End, with no one alternating in between principal roles and ensemble. That might result in cutting some corners, though. The way we’re doing it, we’re able to give our best and then some every time it’s our turn to play the starring role,” Saari says.

“Unlike most actors on Broadway and in West End, actors in a Finnish repertoire theatre such as Helsingin kaupunginteatteri rehearse new productions every day while performing other productions at night. It would be tough to play a leading role six times a week while rehearsals are going on,” Raitala explains.

“Many of Helsingin kaupunginteatteri’s previous musicals have had understudies instead of alternates. It’s however difficult for an understudy to keep up their part if they don't get chances to play it. Two alternating casts is a nicer option for the actors and a safer choice for the theatre,” Vihma sums up.

Fangs make the count. Mikko Vihma as Count von Krolock.

The Finnish vampires of course have teeth to match the job. Sometimes, the vampire fangs cause a bit of trouble.

“The fangs are one of the most stressful things about this production! There’s a scene where we have to put our vampire teeth on really fast. But what if they have broken while hidden away in our costume, or disappeared somehow?” Raitala and Eriksson both laugh out loud.

“A couple of times, while putting on my vampire teeth, my hair has gotten stuck in them. Trying to pull the hair out, the teeth have then almost fallen out of my mouth,” Raitala continues.

It’s not easy for the vampire counts, either.

“There’s a scene where von Krolock descends from the ceiling, wearing wings like Batman. That’s difficult. The wings are supposed to open up, but we have to use quite a bit of force to make that happen. At the end of the descent, we’re singing from a weird position,” Saari says.

“My shoulder’s been hurting so bad, I can hardly get the wings to open,” Vihma mentions.

The teeth cause some problems for von Krolock too.

“When wearing them, you have to be really careful with your articulation. The bigger the teeth, the harder it is to get your S’s to sound right,” Saari says.

“It’s hard to sing with my ensemble vampire teeth on. As for von Krolock teeth, it’s not too bad. My jaw feels a bit sore, though, since I tend to hold it in a strange position when wearing the teeth,” Vihma adds.

Count von Krolock has entered the bathroom.

Transylvanian passion

The story of Tanz der Vampire has many possible interpretations. It can be seen as a silly vampire parody, but it’s also possible to look at it as a dark story that handles such themes as sexuality, growing up, death and immortality. No matter which way you look at it, the events center around the characters of Sarah and Count von Krolock.

“Sarah is full of life and curiosity,” Raitala sums up her character.

“She wishes for something new in her life,” Eriksson adds.

“In contrast to Sarah being full of life, von Krolock’s fire is burning out,” Saari says about his character.

“The Count is stuck in his old ways,” Vihma continues.

The actors go on to discuss the relationship in between their characters.

“Von Krolock has a big solo about his insatiable desire. I think he has almost let go of that desire, but meeting Sarah lights it up inside him again,” Saari says. “Sarah’s innocence fascinates von Krolock.”

“For centuries, von Krolock has lived in his castle, with only Koukol and Herbert for company. Small wonder that a young beautiful girl from the nearby village catches his attention,” Vihma laughs.

“Older people in Sarah’s village already know to beware of the vampire count. But Sarah isn’t afraid of anything. We’ve been wondering if Sarah is completely naïve or aware of what she wants,” Saari recounts.

“But isn’t she at that age where at the same time, she is the both?” Vihma ponders.

Having a charismatic vampire count show up in her bathroom changes Sarah’s life for good.

“Krolock represents something dangerous and exciting. He is different and more intelligent than the people from the village,” Eriksson says. “He’s the first person who makes Sarah feel desire.”

“We don’t think it’s true love. It’s more like a teenage crush mixing with lust,” Eriksson and Raitala summarise Sarah’s feelings.

Young vampire hunter Alfred, played in Helsinki by Petrus Kähkönen and Miiko Toiviainen, also has an important part in the musical’s romantic storyline.

“Alfred is somewhere in between the people from the village and von Krolock. He is different from the villagers, but not nearly as fascinating as von Krolock,” Raitala says. “Alfred simply doesn’t arouse desire in Sarah like von Krolock does. Sorry, Alfred, and sorry, Alfred’s fans!”

“Had von Krolock never visited Sarah’s bathroom, who knows what might’ve happened. Maybe Sarah and Alfred would have had a happy ending,” all four actors agree.

“Though in a way, Alfred has a happy ending even now,” Saari remarks. “In a sense, it’s a happy ending for all of them.”

Raili Raitala's Sarah in the arms of
Petrus Kähkönen's Alfred

Vampire fever

Tanz der Vampire had passionate Finnish fans during Seinäjoen kaupunginteatteri’s production already. The interest has carried over to Helsinki. Compared to international Tanz der Vampire fandom, the Finnish fandom is still very small – but by Finnish standards, only a handful of musicals have ever been met with such enthusiasm.

The actors marvel at some of the fans.

“We had heard there are a lot of Tanz der Vampire fans out there, and we guessed they would come to see us. But it’s surprising how some people in the audience have seen multiple productions of the musical with dozens of different actors in the roles!”

In many Central European theatres, Tanz der Vampire fans stay behind after the show to meet their favourite actors at the stagedoor. In Finland, there is no stagedooring culture. Even if someone wanted to give it a try, they might end up disappointed. Peacock Theatre, Tanz der Vampire’s Finnish home, is very small, so sometimes actors leave the building before all audience members are even out of the door.

The actors have a tip for vampire fans.

“There’s no stagedooring in Finland, but fans can contact the theatre and ask if they could meet us after the show.”

“Around here, it’s very rare to have musical fans who want to meet you. Of course we enjoy it. It’s our job to serve the audience,” Vihma sums up the cast’s feelings.

The vampires have also caused a stir online.

On Twitter, the #vampyyrientanssi hashtag updates several times each day. There are dozens of blog posts and over 750 vampire photos on Instagram. By Finnish standards, these are huge numbers. What’s more, many foreign fans have also sent their greetings to the Finnish vampires, liking posts on Facebook and sharing them on Tumblr.

Sometimes, the actors take part in the fandom’s discussions too.

“I’ve met more fans on social media than in real life, actually. But then again, talking on Twitter is just a different type of a meeting,” Saari says.

“In blogs, there are pages and pages worth of analysis about each character. It’s incredible to see how well the fans know this musical and how deeply they feel about it,” Vihma adds.

Dance of the vampires, with Anna Victoria Eriksson as Sarah
and Jonas Saari as Count von Krolock

Different tastes

Tanz der Vampire started one of the weirdest Finnish theatrical discussions in recent memory. In the first promotional photos for the Helsinki production, Mikko Vihma’s von Krolock wore a mustache. Fans expressed their support and especially their disdain for the Count’s new look loudly and proudly.

The actors laugh about the incident.

“There has never been a production of Tanz der Vampire with von Krolock wearing a moustache. We thought we’d go for something new in that respect. In the end, however, we decided it’s easier if the character doesn’t wear a mustache after all. That way, there’s no need to grow any facial hair or to put fake mustache on before every show,” Vihma explains.

“So it wasn’t because of the fans that we gave up the mustache,” he adds, laughing.

The mustache discussion mirrors many other Tanz der Vampire discussions, in both Finnish and international fandoms. Different productions and interpretations are discussed in detail and sometimes the conversation gets a bit heated, with fans almost arguing about different portrayals. An interpretation that’s different from the usual may result in both applause and angry fans.

“Tanz der Vampire has been performed by countless casts. Sometimes, a certain performance leaves such a strong impression no other can really compare. I think that’s understandable,” Saari says.

“No matter what you do, you can never please everybody. So it’s nice to notice each interpretation has its own fans,” Vihma adds.

Photos by Mirka Kleemola
Also read my Vampyyrien tanssi review!

Helsinki Vampires

This is the new Finnish production of Tanz der Vampire reviewed from a fan's perspective. If you speak Finnish and wish to read a more concise review, you can read for example this, this or this. 

Please note: Helsingin kaupunginteatteri invited me to see Vampyyrien tanssi for free. 

Spoiler warning: major spoilers for the musical and the production.

I'm not a super hardcore Tanz der Vampire fan. I haven't seen any productions outside Finland and I don't really like watching bootlegs of the show. I don't find the movie the musical is based on especially interesting. But even so, Tanz der Vampire is one of my favourite musicals. I loved the first Finnish production, I think the music is fantastic, and the characters fascinate me.

So, from that point of view, let's discuss Helsingin kaupunginteatteri's Vampyyrien tanssi.

Tanz der Vampire parodies classic vampire stories (synopsis here, in case you're not familiar with it). The script offers possibilites for dark and deep interpretations, but Helsingin kaupunginteatteri's new production strongly emphasises the humorous aspects of the story. It's over-the-top, energetic, fast-paced and, above all, really funny. A non-replica production, it's got its own unique vibe and a lovely tongue-in-cheek tone.

Before I get started on the cast, I want to applaud the visual designers of the production: costume designer Elina Kolehmainen, set designers Jani Uljas and Jari Ijäs, lighting designer William Iles and the whole wigs and makeup team. They have turned the small and cramped Peacock Theatre into a detailed vampire world. The stage is small and there's apparently hardly any storage space, so every wall and staircase has multiple uses in the well thought-out set. Every vampire has their own look and personality.

There are some details I do not like in Markku Nenonen's direction and choreography, but as a whole, I think the show is extremely enjoyable and has a good flow all the way through. The orchestra, conducted by Eeva Kontu, sounds grand – the only thing that bothers me is the backing track they use for the Latin chorus in Carpe Noctem. I wonder if this production uses the same crummy one that's used on every cast recording of the show since 1997. At least the quality of the recording sounds as poor as always... Other than nitpicks, I think the show sounds great.

The production premiered on February 3rd. During the first week, I saw it three times. Next up, my thoughts on the production's two alternate casts.

Raili Raitala and Mikko Vihma

Count von Krolock: Mikko Vihma / Jonas Saari

Mikko Vihma is a good fit for the role of Count von Krolock: he looks, sounds and acts the part of an aristocratic vampire. He has a beautiful voice and enough charisma to send shivers down the audience's spines. Vihma's performance includes both menacing moments and a healthy dose of tongue in cheek, him wearing his glittering costume with confidence.

Jonas Saari's take on the Count, then, is rather subdued. His von Krolock starts out as a distant, almost gentle being, and he also sings the part surprisingly softly. The performance takes a sharp turn for the darker during the midnight ball – von Krolock's treatment of Sarah is even crueler than I expected.

I think Vihma's take on the character suits the tone of this production better. He's more over-the-top, with a stronger stage presence, and I also think he has stronger chemistry with his castmates. Saari's portrayal isn't without its merits and he gives me more food for thought, but ultimately I think his von Krolock would feel more at home in some darker, subtler production of the musical.

Raili Raitala

Sarah: Raili Raitala / Anna Victoria Eriksson

Raili Raitala played Sarah in Seinäjoen kaupunginteatteri's production of the musical, and I liked her back then already. I still like her, though some nuances in her portrayal contradict my own interpretation of the character. Raitala's Sarah is very strong-minded and independent – I find her almost too cold and calculating. It feels to me she purely sees Alfred as a way out of her boring life. It's of course a valid interpretation, but I prefer Sarah to have a little bit more naïveté. Her fear and regret in the vampire ball, however, are heartbreaking to watch.

To me, Anna Victoria Eriksson's Sarah is as close to perfection as you can get. She makes the character more naïve and vulnerable than Raitala, yet without losing a bit of her willfulness. To her, Alfred is an okay guy, someone she might like hanging out with under different circumstances – it just happens that right now, the vampire count is more interesting. Personally, I prefer this interpretation of the character.

Vocally, you couldn't ask for anything better. They're both perfect.

Miiko Toiviainen

Alfred: Petrus Kähkönen / Miiko Toiviainen

I like both Alfreds a lot. Though the production heavily emphasises the funny moments, both Kähkönen and Toiviainen still manage to make Alfred deeply human. Both also sing the part beautifully, Kähkönen's take on Alfred's big solo Für Sarah is especially gorgeous. Judging by the applause, I think everyone in the audience shares my feelings.

Alfred is the everyman of the story, a young man that gets dragged along on an increasingly weird adventure. With these two portrayals, I feel the pieces click together by the end and you get the feeling Alfred has completed his character arc. It's hard to put that thought into words, but I enjoyed both performances and look forward to seeing them again so I can pay even closer attention to details.

Antti Timonen and Petrus Kähkönen

Professor Abronsius: Antti Timonen / Tuukka Leppänen

Ah, my heart!! Who even cares about the vampire count, I'm now a sworn member of Team Abronsius. Both Timonen and Leppänen blew me away with their hilarious, charming and energetic performances of the character. I didn't know I could like Abronsius quite this much!

I especially enjoy Alfred's moments with Professor Abronsius. Both Alfred & Abronsius duos are hilarious foils for Count von Krolock's evil (they somehow remind me of the 1960s TV series Batman and Robin). Both Professors have good chemistry with their respective Alfreds and plenty of laugh-out loud moments. In the performances I saw, team Timonen and Kähkönen shone especially brightly. I loved watching Kähkönen's Alfred getting more and more fed up with the Professor's antics, with Timonen's Abronsius either not getting it or simply not caring.

It seems to me the actors have fun in their roles, and in turn, their performances are plenty of fun to watch. I can't say which Abronsius I prefer, I find both of them equally amazing. I just wish to see both again as soon as possible!

Laura Alajääski and Risto Kaskilahti

Chagal: Risto Kaskilahti / Kari Mattila

Risto Kaskilahti tries so very hard to be funny and fails at every attempt. He hogs the spotlight in every scene he's in, making the character of Chagal feel annoying and out-of-place. Kaskilahti delivered a touching portrayal of Billy's Dad in Helsingin kaupunginteatteri's recent production of Billy Elliot. Shame none of that subtlety and good taste is left for this role.

Kari Mattila's Chagal, then, gets two thumbs up from me. He has some genuinely funny moments and makes the character surprisingly three-dimensional. This is the Chagal a good production such as this one deserves.

Rebecca: Leenamari Unho

Unho's Rebecca is, happily, not of the ugly hag type so many productions feature – instead, she's a rather charming sight with garlic decorating her hairdo. She gives a solid but not especially memorable performance of the character.

Sanna Majuri and Kari Mattila

Magda: Laura Alajääski / Sanna Majuri

I've written about the troubling aspects of Magda's character arc previously. In short: I think it's disturbing how the show first presents her as a victim of Chagal's unwanted advances and then makes her give in to him in the second act. I'm glad this production subverts some of the cringiest parts of the character's story.

Both Helsinki Magdas are spunky and strong-willed. When Magda and Chagal are turned into vampires, we see her berating him and showing him that it's she who's in charge. She befriends Herbert early on, inviting the vampires to rise from their graves together with him during Ewigkeit.

In short, this Magda is in charge of her own destiny, as much as it is possible without changing the script. Both Alajääski and Majuri also have beautiful, powerful voices. So I'm a fan!

Samuel Harjanne and Jonas Saari

Herbert: Samuel Harjanne

Harjanne's entrance as Herbert is one of the highlights of the first act. Never mind that he only spends something like 30 seconds onstage during the first act finale – he enters with such a grand swoosh of his cape that it's a sight to remember.

The second-act portion of the performance is good, but I don't think it's quite as memorable as the grand entrance. There is however an interestingly Frank-N-Furter-ish aspect to Herbert's character here, what with him wearing a glittery corset for his and Alfred's duet and getting it on with gentlemen and ladies alike during the course of the second act.

Overall, a fun yet not overly over-the-top version of the character.

Helsingin kaupunginteatteri's Vampyyrien tanssi ends with the Professor getting bitten and then learning the steps to the vampires' dance alongside the Count and all the other characters. I love love love that. At the same time, it's the ultimate antithesis to traditional happy endings with lofty morals – and a perfect feel-good finale.

If you're a vampire fan and are able to take a trip to Helsinki before April 27th, do it.

This production is worth it.

Photos by Mirka Kleemola.
Lue myös: Vampyyrien tanssin suomentaneen Marika Hakolan haastattelu

Eek! Vampires

So! As many of you have heard already, Tanz der Vampire or Vampyyrien tanssi is coming back to Finland – premiering on February 3rd in Helsingin kaupunginteatteri.

Who's excited? I'm excited!

Cast:

Alfred: Petrus Kähkönen / Miiko Toiviainen
Sarah: Raili Raitala / Anna Victoria Eriksson
Count von Krolock: Jonas Saari / Mikko Vihma
Prof. Abronsius: Antti Timonen / Tuukka Leppänen
Chagal: Kari Mattila / Risto Kaskilahti
Rebecca: Vuokko Hovatta / Leenamari Unho
Magda: Sanna Majuri / Laura Alajääski
Herbert: Samuel Harjanne (u/s Peter Pihlström)
Koukol: Juha Jokela

Chorus: Emilia Nyman, Kirsi Karlenius, Sofia Hilli, Tiina Peltonen, Inka Tiitinen, Kaisa Torkkel, Kai Lähdesmäki, Sampo Kerola, Ilkka Kokkonen, Unto Nuora, Hanna Mönkäre, Tuukka Raitala, Sami Paasila

Directed by Markku Nenonen

What is this? Some sort of happy delusion?

One of my favourite musicals of all times coming back to Finland with my all-time favourite actors Anna Victoria Eriksson and Tuukka Leppänen in leading roles – and featuring a really, really amazing-looking cast overall? Seinäjoen kaupunginteatteri's brilliant Sarah Raili Raitala reprising her role? Jonas Saari, who played a breathtakingly impressive Javert in the recent Finnish Les Misérables, as Count von Krolock? I of course can't yet know for sure, but I have a feeling this is going to be good.

Counting both premieres, I have six tickets booked in advance. I guess that says it all about my enthusiasm for the production. It's a good feeling, to be really excited about something – and to share that feeling with friends and fellow fans. I've written about the lasting impression the first Finnish Tanz left on me and many others. I'm looking forward to finding out what kind of impressions the new production will make.

If you're considering traveling to Helsinki to see this, 1) hurry up, since the musical's run sadly ends in late April already 2) find useful links and information on Laura's blog.

Finally... Ever since Helsingin kaupunginteatteri released their first promotional photos for this new production, the discussion has been raging. I have to share my two cents.

I've gotten used to Count von Krolock's (Mikko Vihma) mustache. It does not bother me anymore. Actually, to be quite honest... I kind of sort of almost like the look.

Please do not bite me, fellow Tanz fans. Please do not bite.

See you in Helsinki!

Photos by Mirka Kleemola.

Autumn Musicals

Hello in English again! Who's seen plenty of outdoor theatre this summer? I sure have. My summer theatre tour encompassed eight outdoor productions, and honestly, that's quite enough for me... Summer's all nice and good, but having had my toes frozen and my skin burned while watching outdoor shows, I think it's about time for some indoor culture again.

Tradition dictates that my summer theatre season is over when Helsingin kaupunginteatteri invites me to their autumn season opening gala. Luckily, that happened last Monday. This year, the event focused on the theatre's upcoming production of Billy Elliot.

The Stars Look Down

I have seen Billy Elliot once, in West End some six years ago. I like the story and had a nice enough time, but I'm not a fan. In general, Elton John's music is not to my liking. I'm looking forward to seeing what Helsingin kaupunginteatteri does with the material, and based on the sneak peeks we saw in the theatre's season opening gala, I might enjoy the show better here than in London. Still, I doubt I'll fall in love with the musical. But we'll see!

What am I really looking forward to seeing in the autumn of 2015, then?

Jekyll & Hyde... or Emma & Lucy!

First of all, Jyväskylän kaupunginteatteri's production of Jekyll & Hyde. Of course. After the huge impression the first Finnish production of said musical left, I am beyond curious to see what another theatre can do with it. Based on promotional photos so far, the steampunk-ish visuals look great. I have my worries about the script, but even so, I am counting days to the premiere.

Secondly, Desirée or A Little Night Music in Tampereen Työväen Teatteri. You can read more about my thoughts in my previous post from February. In short: a good musical performed by a promising cast directed by someone whose previous works I've enjoyed. In all likelihood, something to enjoy.

The Phantom of the National Opera

Thirdly, Finnish National Opera's The Phantom of the Opera. The world's favourite musical finally arrives to my country, how could I not be curious about it! Well, the production has some aspects I'm not excited about, like keeping the libretto in English though a vast majority of the cast speak Finnish. I'm also not a fan of some of director Tiina Puumalainen's previous musical productions. But on the other hand – it'll be a brand-new production of a musical whose original production and countless replicas I'm, to be honest, completely fed up with. I'm excited to see which aspects of the familiar story the Finnish production decides to focus on.

Bonus mention to Tampereen Teatteri's upcoming production of Sugar. Some Like It Hot is one of my favourite movies. I know nothing about the musical, so I'm both curious about it and certain I won't like the stage show as much as I like the film...

I will also try to fit some all-Finnish musicals into my autumn schedule. Åbo Svenska Teater and Lahden kaupunginteatteri are both staging their own versions of Myrskyluodon Maija, a Finnish musical set in mid-19th century Åland Islands. It's always interesting to compare how two theatres handle the same material. These two theatres especially – they already produced two completely different productions of Hair at the same time in 2012.

Lahden kaupunginteatteri's Myrskyluodon Maija

Finally, one more reason I both look forward and dread seeing Billy Elliot.

I don't often cry in theatre. Music especially doesn't make me cry. Sometimes I tear up if a story touches me, but only a small handful of songs have ever managed to squeeze tears out of me.

One of those is Billy Elliot's The Letter. Billy's dance teacher Mrs. Wilkinson reads a letter Billy's mother wrote to her son before her death. I don't relate to the song, I don't identify with Billy as a character, I don't even especially like the tune – but something here completely breaks me. In West End, I couldn't see the stage from my tears. The kids sitting next to me turned to look at my uncontrolled display of emotion instead of watching the actors. I have cried listening to this on online musical radio. Heaven knows how I managed to film the scene without crying, but watching it, I cannot get past the point where Billy starts singing without tearing up.

Please don't laugh at me if I turn into a human waterfall when seeing Billy Elliot live.

Photos by Jiri Halttunen / Marjo Vihavainen (Jyväskylän kaupunginteatteri), Perttu Saksa (Finnish National Opera), Johannes Wilenius (Lahden kaupunginteatteri). As always, hover over the photos for info.

Finnish Musicals: Broadway for Finns

The Life and Times of Musical Theatre in Finland, part 3/4. Read this part in Finnish here.

Certain musicals are especially loved by younger theatregoers. Many generations of Finnish teenagers and young adults have enjoyed Broadway shows. In this part of the series, we’ll take a look at how Finnish audiences of both past and present have received hit musicals such as Hair, Rent and Wicked.

Adults don’t sing or dance on the west side of Manhattan. Or in Tampere, Finland, either.

West Side Story, the classic musical about gang wars and young love, premiered on Broadway in 1957. The groundbreaking musical showed fighting as dancing. The world West Side Story’s young characters live in is a dark one, but the musical also portrays adults’ society as distant and unfair.

The Romeo and Juliet remake arrived to Finland rather rapidly. West Side Story’s Nordic premiere took place in Tampereen Teatteri in 1963.

The production was a success and ran for three seasons. Both the audience and the critics fell in love, in Finland and elsewhere – when the production visited Vienna, the local audience applauded it for 18 minutes. In Finland, West Side Story was also quickly produced in many other theatres, including The Finnish National Opera.

“Yeah, it’s worth watching”, one of the teenagers who saw the musical in The National Opera commented (Helsingin Sanomat, 19.11.1965).

A couple of years after West Side Story, Tampere was again the Finnish capital for musicals aimed at young adults. Only two years after its 1967 Broadway premiere, in the summer of 1969, the hippie musical Hair was featured in Tampere Theatre Festival’s repertoire.

West Side Story is one of Finland's most popular Broadway musicals.
Here's how the show looked like in Lahden kaupunginteatteri in 2013.
Photo: Lauri Rotko.

Long, Beautiful Hair

Hair became a musical phenomenon.

The first theatre festival performances sold so well that more performances were scheduled and the ticket prices were raised. The production, featuring a cast of amateur actors, toured Finland for two years and also visited Sweden. The cast recording topped the charts.

Teen magazines wrote about Hair and tried to build a rivalry in between the touring production and a Swedish-speaking version that was staged in Helsinki’s Svenska Teatern at the same time. In real life, the two productions were on good terms.

The hippie musical formed bonds all over the globe, too. The Paris, San Fransisco, London and Australian productions of Hair all telegraphed their best wishes to the touring Finnish production’s premiere.

All feedback wasn’t quite as positive. The featured nudity and the musical’s general display of hippie lifestyle hurt some feelings along the way.

“What the theatre management was thinking, letting that porn theatre visit our city?” pen name “Appalled” wondered in the local newspaper Turun Sanomat when the Hair tour visited the city of Turku in late 1969.

“Please at least cancel the upcoming performances.”

The Tribe from Åbo Svenska Teater's 2012 production of Hair.
Photo: Robert Seger.

The Age of Aquarius, Continued

After the summer of ‘69, the hippie musical has had multiple new Finnish productions.

Nowadays, the show is associated with a fair amount of nostalgia. Turku, Finland’s medieval capital and nowadays the country’s 6th biggest city, was the European Capital of Culture in 2011. One of the year’s special events was a new production of Hair cast with middle-aged amateurs.

In 2012, Hair was produced professionally both in Turku’s Swedish-speaking Åbo Svenska Teater, and in Lahden kaupunginteatteri in southern Finland.

“The themes of Hair are still current”, director Maarit Pyökäri says. Pyökäri directed the show for Lahden kaupunginteatteri.

”Of course, some of the things have dated. Onstage nudity, for example, has lost its shock appeal. Other themes, however, are still as current as ever. The United States is still engaged in warfare on another continent, young people still use drugs...”

Pyökäri says that Hair isn’t an easy musical to stage. She describes the script that consists of a string of individual scenes instead of a traditional plot as chaotic, and mentions that translating the lyrics to Finnish also proved challenging. The musical’s music, then, was the reason to bring the show to Lahden kaupunginteatteri. The songs were performed on concert volume.

“Young people fell in love with the show, while their parents knew the songs by heart. The production reached all ages”, Pyökäri says.

The Lahti Tribe. Photo: Tarmo Valmela.

Arts and AIDS

Worldwide, Jonathan Larson’s Rent can be called one of the most important musicals of the 90s. After premiering in New York in 1994, international productions of the musical soon popped up all over the world, Finland included.

Adapted from Giacomo Puccini’s opera La bohème, Rent shows a year in life of a group of young artists. The setting has been changed from Paris to New York, and the tuberculosis that threatened the artists’ lives in the original opera has been updated to HIV.

Audiences, especially people in their twenties and thirties, fell in love with the musical. It ran on Broadway for 12 years and was adapted for film.

“When I saw Rent in New York for the second time, I hardly found my way out of the auditorium. I was crying so hard”, director Marco Bjurström tells. Bjurström directed the musical in Helsinki.

In Finland, Rent was first seen in Tampereen Teatteri in 1998. The Finnish interest towards the musical was strong before the premiere: some of Finland’s biggest theatres, such as the national Swedish-speaking scene Svenska Teatern and Helsinki’s big musical stage Helsingin kaupunginteatteri, also wanted to stage the Finnish premiere.

Despite the initial interest, there were no productions of Rent in Finland for over a decade after the 1998 production. But in the 2010s, the musical has returned on Finnish stages. It hasn’t been produced in government-supported municipal theatres, but amateurs and professional have both been staging their own, independent productions.

The latest professional Finnish Rent was produced in Helsinki in 2012. Marco Bjurström directed the musical and produced the show without financial help from outside backers. The director says he dreamed of producing the musical for years.

“As a portrait of its own time, Rent left a lasting impression on me. It tells stories of the world we really lived in during the time musical takes place”, Bjurström describes.

A scene from the Helsinki production. Photo: Lasse Lindqvist.

Taking Risks

When Tampereen Teatteri staged Rent’s Finnish premiere in 1998, a musical featuring sexual minorities, drug abuse and AIDS was seen as both a financial and an artistic risk for the theatre. It ran for one season.

The Helsinki production was also a risk for its producer. The proceeds weren’t enough to make up for the original investment.

“I understood that Rent would probably never return to the government-supported big theatres’ repertoires. Some theatre managers still think it’s too wild. So, I thought I have to take the risk and do it myself, no matter what’ll happen. Otherwise I’ll never forgive myself for not doing it!” Bjurström explains his decision to produce the show.

Bjurström says the musical, set in early 90s New York, still touches people. The Helsinki production’s audience consisted of people of all ages, from school kids to senior citizens.

“Rent tells a certain tale to those of us who have been young in the 80s and 90s. The story itself, however, has not dated in any way. It was fantastic to hear comments from the audience members. Whether they were pensioners or young students, the musical was a strong experience for all. Many got new hope, faith and power from watching it.”

A moment from Suomen Musiikkiteatteriensemble's 2011 production.
Photo: Suomen Musiikkiteatteriensemble ry.

A Journey to a Wonderful World

The fantasy musical Wicked premiered in Helsingin kaupunginteatteri in 2010, seven years after its Broadway premiere. The musical has plenty of young fans all over the world – also in Helsinki.

The story of Wicked is based on L. Frank Baum’s children’s novel The Wonderful Wizard of Oz and its classic movie adaptation. In Finland, the world of Oz isn’t nearly as well-known as in the USA.

Despite the relative obscurity of the source material, Helsingin kaupunginteatteri decided to stage the Wicked Witch of the West’s story. Theatre manager Asko Sarkola says that composer Stephen Schwartz was worried about Finns’ distant relationship with the original story.

“He often asked me if Finnish audiences know The Wizard of Oz. The musical after all features characters and plot points from the original story. I answered that not really, no, but the music is going to charm the audience in any case.”

Wicked is a story about being different, and about friendship. Riikka Kiviaho, the president of Wicked Fanclub Finland, says that knowing The Land of Oz gives Wicked’s world more depth. According to her, the show can nevertheless also be enjoyed without any prior knowledge of the story.

“Wicked’s music is so impressive, you can really feel it resonating through your body. My mouth fell open during the first song already”, Sofia Sarkava says. Sarkava, a member of Wicked Fanclub Finland, saw the show five times.

The composer’s worries were indeed lessened with time.

“In the end, Schwartz was very happy with the way Helsingin kaupunginteatteri told the story of the different girl seeking for acceptance”, Sarkola says.

A scene from Helsingin kaupunginteatteri's Wicked.
Photo: Tapio Vanhatalo.

Fanclub Still Going Strong

The witches of Oz enchanted the Finnish audience. The musical was seen by over 65 000 people, and many saw the production more than once.

“I could relate with the musical’s themes and the relationships featured in the story. My situation in life was just right for Wicked”, Riikka Kiviaho describes the musical’s charm. She saw the production 16 times.

During the production’s run, Kiviaho founded a club for the musical’s fans. Helsingin kaupunginteatteri also joined the club activities. While the musical was in the theatre’s repertoire, the club and theatre joined forces to arrange cast meetups for the fans.

“The club turned into something special. The cast and the fans interacted with each other, and the feeling was good all around”, Kiviaho says.

Wicked’s Finnish run ended over three years ago, but the musical is still important to many fans. The members of the fan club still meet each other.

“I’m maybe the most impressed by how many people have found new friends via the fan club. I didn’t expect that when I founded the club. It still makes me teary-eyed”, Kiviaho summarises her feelings.

Witches and fans. Photo: Riikka Kiviaho.

Sources used: Mikko-Olavi Seppälä & Katri Tanskanen: Suomen teatteri ja draama, Reijo Paukku: Hippimusikaali HAIR ja Tampereen Popteatterin tarina, Taloussanomat 19.9.1998: Menestys tai tappio.

Finnish Musicals: Fiddlers, Logs, and Sounds of Music

The Life and Times of Musical Theatre in Finland, part 1/4. Read this part in Finnish here.

In the first part of the series, we'll take a look at Finland's favourite musicals of all times. The list of favourites is international, but the number one spot is held by an all-Finnish classic...

On Friday the 13th, 1899, musical history was made in The Finnish National Theatre. It’s a small wonder, though, that the show in question featured music at all. The songs had been written only a couple of weeks before, and the script had been revised all the way to the premiere. The writers didn’t believe their piece would be much of a success.

Against all expectations, the all-Finnish musical comedy Tukkijoella was a huge hit. During its first season in the theatre’s repertoire, it was performed dozens of times for full houses. Even the usually restrained premiere audience laughed out loud.

Written by Teuvo Pakkala and composed by Oskar Merikanto, both well-known Finnish artists, Tukkijoella has been produced in Finnish professional theatres more often than any other musical. It has been seen by more people than any other Finnish play. Since its premiere in 1899, it’s been revised in theatres all around the country over 130 times – and that number only includes fully professional productions!

A scene from The Finnish National Theatre's early 20th century
production of Tukkijoella. Photo from the theatre's archive.

The Number One Favourite

The show’s title, Tukkijoella, loosely translates as “We’re Log Driving”. In the main storyline, the daughter of a respected family is courted by the mischievous leader of a group of log drivers. The girl’s father is furious, until it turns out the log driver is actually a wealthy farm-owner. The father then gives the couple his blessing and the lovers get their happily-ever-after. In the subplots, a villainous servant of the crown is defeated and the other log drivers also find romance.

“It’s a fine portrayal of the Finnish way of living, both the way it used to be and the way it still is. Friendship in between men is also an important theme of the piece”, director Pentti Kotkaniemi describes the story. Kotkaniemi directed Tukkijoella for Turun kaupunginteatteri in 2008.

Tukkijoella is such a popular show that it has been adapted for film three times. The musical play was turned into a silent movie in 1928. The silent film was followed by two all-singing-all-dancing versions, released in 1937 and in 1951.

The number of film adaptations pales in comparison to the number of times Tukkijoella has been performed live in Finnish theatres. It’s been a hit on both professional and amateur stages all over the country. New amateur productions still premiere every year. Tukkijoella has even returned to the repertoire of The Finnish National Theatre – half a dozen times, most lately in the 70s.

Tukkijoella has been seen as a guaranteed success for any theatre. Critics have thought the piece’s humor and energy, its charming characters and, nowadays, the audience’s nostalgia and appreciation for camp are keys to the show’s success.

Tukkijoella is a comedy, but it can also have serious undertones. Tampereen Työväen Teatteri’s 1971 production added a new undercurrent about nature conservation into the story. The politic movements of the 70s also influenced the way Finnish audience interpreted certain aspects of the story.

This revised version of Tukkijoella turned out to be a massive hit.

The performances ran for eight years, and the play returned to the theatre’s repertoire in the 80s. The original production and the revival combined, Tampereen Työväen Teatteri’s Tukkijoella was seen by almost 250 000 people. It’s a number only a small handful of Finnish theatrical productions have ever been able to reach. The production also visited Stockholm and went on a short tour of the United States – complete with a performance on Broadway.

A scene from Turun kaupunginteatteri's 2006 production.
Photo: Robert Seger.

Return of the Log Drivers

The latest professional production of Tukkijoella premiered in Turun kaupunginteatteri in 2008.

“Directing this play was on my ‘To Do’ list ever since I saw Tampereen Työväen Teatteri’s production in the 70s”, director Pentti Kotkaniemi says.

In Turun kaupunginteatteri, the 19th century play was brought a bit closer to the present. The log drivers wore modern jackets and worked with chainsaws. Kotkaniemi says that regardless of the visual changes, the production wasn’t a modern version of the story.

“We decided to abandon the museum-like late 19th century style right from the start. But since the dialogue and the story are over a hundred years old, there’s no way of fully modernising the play without touching the script.”

Turun kaupunginteatteri’s production of Tukkijoella was seen by almost 18 000 people. But after the derniere, there has been a log jam on the river. No professional theatre has produced Finland’s most popular musical in over six years.

Despite this break in performances, Kotkaniemi believes that there’s still room for the classic in theatres’ repertoires.

“I would indeed be interested in directing the play a second time. I’ve suggested revising it to a certain theatre – and who knows, maybe the project will take flight one day.”

A tender moment from Tampereen Työväen Teatteri's 2012
production of Countess Maritza. Photo: Jonne Renvall.

Finnish Favourites

Even though Finns’ number one favourite musical is a completely domestic work, Finnish audiences are also captivated by imported pieces. Maybe surprisingly, the list of Finland’s most often performed musical plays is not dominated by Broadway musicals but Hungarian operettas.

Die Csárdásfürstin or The Gypsy Princess, Victoria and Her Hussar and Die lustige Witwe or The Merry Widow are all featured on the list of the musical plays most often produced in Finland. Hungarian operettas were especially popular in the beginning of the 20th century. They formed the backbone of many theatres’ repertoires. Nowadays, operetta isn’t seen on Finnish stages nearly as often, though new productions of old favourites still pop up every now and then.

Certain Broadway musicals have also been very successful in Finland. Unlike operettas, their success continues to this day.

Fiddler on the Roof is Finland’s most popular American musical. The story about Jews being evicted from their village by the Russian Tsar has been produced professionally 48 times.

Both the first Finnish Fiddler and the latest production of the classic were seen in Helsingin kaupunginteatteri. This theatre in the Finnish capital is the home to the country’s biggest musical productions.

The original Finnish production of Fiddler on the Roof ran from 1966 to 1971. Over 319 000 people watched the musical. It’s the biggest audience any Finnish theatrical production has ever gathered. The 2012 revival ran for one season only, but the musical is still loved by theatregoers. The new production, with 71 000 spectators, was the most popular play of the 2012–13 Finnish theatrical season.

A scene from Helsingin kaupunginteatteri's 1966 production of
Fiddler on the Roof. Photo from the theatre's archive.

Classic with a Current Theme

“The story of Fiddler on the Roof has not aged at all. Emigration is a universal theme”, Helsingin kaupunginteatteri’s manager Asko Sarkola says.

Sarkola tells the cast and crew available influenced Helsingin kaupunginteatteri’s decision to bring the classic back in 2012.

“Director Hans Berntsson’s family emigrated from Russia to Finland, and later from Finland to Sweden. Therefore Berntsson has a personal connection to Fiddler’s story. After finding the director, I called Esko Roine [one of Finland’s best-known and most prolific actors, has played many musical roles in Helsingin kaupunginteatteri] and asked him if he had ever considered playing Tevye. Roine told me that yes, the thought had crossed his mind.”

In the 60s, a part of Fiddler’s popularity could be explained by how people could identify with the story. The evicted villagers reminded the Finnish public of the evacuation of Eastern Finland after losing land to Russia after World War II. In the 60s, many Finns also moved to Sweden in search of employment.

The 2012 version didn’t even try to live up to the huge success of the first production. Sarkola says a success like that is always a surprise.

“The 2012 Fiddler on the Roof was as popular as our other musicals around the same time. It reached our audience goal. Big successes are always matters of chance – and in a way, they’re miracles, too. In a hit like the original Fiddler, a piece of theatre and the way the nation feels at the moment have to meet.”

The new sewing machine still amazed the villagers in 2012.
Photo: Tapio Vanhatalo.

Trapp Family Singers Claim New Land

The list of Finland’s most popular foreign musicals is continued by The Threepenny Opera, Cabaret, My Fair Lady and The Sound of Music. New productions of these classics have lately premiered in professional theatres both big and small all around the country.

This season, the love story of an aspiring nun and a militant captain takes the stage in Eastern Finland, in Kuopion kaupunginteatteri. The theatre’s manager Pekka Laasonen says the evergreen favourite was chosen for the repertoire to celebrate the theatre’s newly renovated building.

“Our theatre was under renovation for two years. We decided the new season should start with a big musical on the big stage.”

Laasonen says the theatre considered dozens of Finnish, English, American and Central European musicals. They decided to go with the classic when they learned a surprising fact about it.

“It turned out The Sound of Music had never before been performed in Kuopio before. We made the decision rather quickly after finding that out.”

Laasonen says the beloved piece was also chosen because it’s suitable for all ages, even children. What’s more, collaborating with the town’s orchestra gives the classic new energy.

“The musical’s right holders were really glad to hear our Sound of Music features such a big orchestra. There are over 20 musicians involved with the production. It’s almost as big an orchestra as the one the music was originally written for. It’s rare to perform this piece with so many musicians today – rare not only in Finland, but all over the world.”

Order! A scene from Kuopion kaupunginteatteri's production of
The Sound of Music. Photo: Ari Ijäs.

Sources used: Ilona database, Kansaa teatterissa – Helsingin kaupunginteatterin historia by Pirkko Koski & Misa Palander, Näyttämöllä – teatterihistoriaa Suomesta by Pentti Paavolainen & Aino Kukkonen, Tasavallan toinen teatteri – Tampereen Työväen Teatteri 1964–2001 by Panu Rajala.