Berlin Vampires

So. After traveling 1,300+ kilometers for a musical we never got to see, we returned to Berlin and decided to do the next best thing – see Stage Entertainment's production of Tanz der Vampire in Theater des Westens.

Thank heavens for dancing vampires.

So far, I have only seen the two Finnish productions of Tanz der Vampire. Therefore, even though it's a replica of the 1997 original production, the Berlin Tanz – directed by The Fearless Vampire Killers director Roman Polanski – felt rather fresh to me. Something in the overall look and feel of the piece tells me the direction dates from way earlier than 2016, and in a different state of mind, I would probably have had more problems with it. But for a first-timer in emotional turmoil, it was all good.

For me, Kirill Zolygin's (u/s) Count von Krolock was the most fascinating performance in the show. His take was just so different from any of the Finnish von Krolocks I have seen so far. Thus, he opened my eyes to a whole new side of the character I have never seen in action before. Less passive and discreet, less melancholic, more bitter.

I don't know if alive is the right word to use when you're discussing vampires... So let's say Zolygin's Krolock is very active. It seems like he's in control of whatever situation he's in and has a good, at times almost exhilarating time seducing his victims to their deaths – until the moral hangover hits. Zolygin's Unstillbare Gier was the highlight of the show. The song was a journey through moments of sorrow, regret, self-hatred, disdain, sense of superiority and cold bitterness. Super fascinating to watch.

Professor Abronsius, played by Victor Petersen, was another interesting character to me. This version of the professor is, though determined, super old and frail. Alfred seems like 25% professional assistant, 75% geriatric nurse... But, compared his younger, more energetic and arrogant Finnish collegues, the Berlin professor is way easier to like. He's not a coward but an old man who, no matter how much he wants to, cannot hunt vampires with such vigor as he used to anymore. (Interestingly, judging by his photo in the programme, Petersen cannot be a day over 30 in real life.)

As a whole, the cast was good and evenly matched. Alfred (Tom van der Ven) and Sarah (Marina Maniglio, u/s) didn't really move me, but I quite enjoyed Merel Zeeman's spirited Magda, Sander van Wissen's (u/s) dangerous Herbert and Yvonne Köstler's surprisingly touching portrayal of Rebecca.

All in all, I had an amazing time.

The first act didn't really blow me away (it never does) but the second act just kept getting better and better. It was very nice to see moments I've watched on Youtube and seen in photos come to live. This staging also helped me to understand the charm of some scenes I haven't really been a fan of before. Ewigkeit, with the vampires rising from rows and rows of coffins, made a big, unexpected impression on me.

Some moments, on the other hand, were... comical. I couldn't help snickering, watching the Black Vampire dance his way to Dream Sarah's heart and throat during Carpe Noctem. Airbrushed abs and showy strutting around in tight tight leather pants. I've always thought Carpe Noctem is Alfred's own dream, I don't believe it's influenced by von Krolock – so the Count must've left quite an impression on our young hero the night before!

The prices for row 24 seats were high (70 € per ticket), but to the staging's credit, it must be noted it's enjoyable even from the very back. Usually, I like front rows better, but I feel this production might feel too in-your-face if you got really close. From my seat, the world of the vampires looked beautiful.

I saw Tanz der Vampire a day after experiencing the biggest disappointment in recent memory. I don't think any other musical would have felt quite as good in that moment as this.

Tanz is a very cynical story. The heroes all lose and the day is not saved – and everybody in the audience cheers. The title song is already my favourite musical finale, and this time, it felt extra amazing. I've listened to the German versions literally over a thousand times, and to hear it live in German for the first time after everything that had just happened... I hope you can imagine, since I don't think I can find proper words right now.

Thank you for the midnight ball that made everything better, von Krolocks and company.

Photos by Even Press.
Related reading: The story of the 1,300+ km disappointment

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.

Haastattelu: Musikaalikääntäjä Marika Hakola

Parin viikon takainen kirjoitukseni musikaalisuomennoksista keräsi paljon näyttökertoja. Avasin tekstissä ajatuksiani hyvistä ja huonoista suomennoksista – mutta kirjoituksen julkaistuani tajusin, etten tiedä juuri mitään musikaalin kääntämisen käytännöstä. Miten musikaali muuttuu suomenkieliseksi?

Pyysin ammattikääntäjän kertomaan.

Kääntäjä Marika Hakola valmistui Tampereen yliopistosta vuonna 2007 pääaineenaan saksan kääntäminen. Hänen gradunsa käsitteli intertekstuaalisuuden kääntämistä Tanz der Vampire -musikaalin libretossa. Kun Tanz der Vampire sai Pohjoismaiden ensi-iltansa Seinäjoen kaupunginteatterissa vuonna 2011, vastasi Hakola musikaalin suomennoksesta.

Hakola on työskennellyt projektipäällikkönä käännöstoimistossa ja toimii tällä hetkellä yliopisto-opettajana Helsingin yliopiston nykykielten laitoksella, jossa hän suorittaa jatko-opintojaan. Hän on myös suomentanut Eclipsis ry:n järjestämiin musikaalikonsertteihin kappaleita useista eri musikaaleista.

Musiikkiteatteri on ollut Hakolan rakas harrastus lapsuudesta asti.

”Olin kahdeksanvuotias, kun näin ensimmäisen musiikkiteatteriesitykseni, Mustalaisruhtinatar-operetin Porin Teatterissa. Laulujen kääntämiseen kiinnitin ensimmäisen kerran huomiota teininä Disneyn elokuvia katsellessani”, hän kertoo.

Hakola tutustui Jim Steinmanin säveltämään, Michael Kunzen käsikirjoittamaan ja sanoittamaan Tanz der Vampire -musikaaliin ensimmäistä kertaa Itävallan Salzburgissa vietetyn vaihto-opiskeluvuoden aikana. Tekstin sisältämät viittaukset toisiin teksteihin kiinnittivät Hakolan mielenkiinnon, ja musikaalista muotoutui gradun aihe.

”Mitä jos tällainen musikaali tulisi esitettäväksi Suomessa? Miten sen kääntäminen olisi edes mahdollista?” Hakola muistaa pohtineensa.

Vampyyreita kääntämässä

Kun Vampyyrien tanssia puuhattiin Seinäjoen kaupunginteatteriin, törmäsi ohjaaja Olli-Matti Oinosen työryhmä Hakolan graduun. Hakola oli graduaan varten kääntänyt musikaalin ilman loppusointuja, mutta Seinäjoelle häneltä pyydettiin uutta, alkuperäistekstin riimikaavaa noudatellutta käännöstä.

Hakola kertoo, että vampyyrimusikaalin kääntäminen oli hurja seitsemän viikon urakka. Musikaalin kääntämiseen olisi Hakolan mukaan hyvä varata vähintään kolmesta neljään kuukautta, mutta aikataulusyistä hän pääsi tarttumaan käännöstyöhön vasta harjoitusten alun jo lähestyessä.

Käännöksestä tuli kääntäjälleen ympärivuorokautinen seuralainen.

”Työstin suomennosta kaiken valveillaoloaikani. Kuuntelin musikaalia silloinkin, kun tein jotain muuta. Pidin jopa sänkyni vieressä muistiinpanovälineitä niin, että jos heräsin keskellä yötä ja ratkaisin jonkin riimiongelman, saatoin heti kirjoittaa sen ylös. Keskellä yötä, kun itsekriittisyys on matalimmillaan, saa joskus ihan käyttökelpoisia ideoita!”

Teos oli Hakolalle ennestään tuttu, joten rankka seitsemän viikon rutistus riitti laulutekstien kääntämiseen. Seuraavina vuorossa olivat puherepliikit, näyttämöohjeet ja pianopartituurin kirjoittaminen.

Käännöstyön aikana Hakola luetutti tekstiään ystävillään. Valmistuttuaan suomennos käännettiin osittain takaisin saksaksi ja lähetettiin musikaalin tuottajien tarkastettavaksi.

Tuottajien hyväksynnän jälkeen oli aika tehdä tekstistä musiikkiteatteria.

”Ensimmäisen kerran kuulin käännökseni jonkun toisen laulamana, kun kapellimestari Timo Ristilä ja korrepetiittori Jari Pylväinen lauloivat musikaalin läpi digipianon säestyksellä. Kahden baritonin tulkinnoissa Sarah’n ja Alfredin duetoista oli herkkyyttä kerrakseen”, Hakola nauraa.

”Tällaisessa testauksessa huomaa hyvin, jos tekstiin on jäänyt laulettavuuteen vaikuttavia virheitä.”

Käännöksen valmistuttua Hakola osallistui vielä musikaalin harjoituksiin. Hän toimi tekstiasiantuntijana, auttoi tarvittaessa työryhmää tekstin tulkinnassa ja korjasi suomennoksessa harjoitusten aikana ilmenneitä ongelmia.

”Muutoksia ei enää tullut paljoa, mutta esimerkiksi laulettavuutta parannettiin vaihtamalla muutamia äänteitä toisiin.”

Tavujen ehdoilla

Musikaalin kääntämisessä on tiukat reunaehdot. Jotta teksti pysyisi laulettavana, tavujen määrän täytyy vastata alkuperäistä, niiden pituuteen on kiinnitettävä huomiota ja painollisten sekä painottomien tavujen on osuttava oikeille paikoille. Jopa yksittäisiä äänteitä täytyy harkita, sillä toiset vokaalit ovat helpompia laulaa kuin toiset.

Lisäksi kääntäjän työtä ohjaa alkuperäisen tekstin riimikaava.

”Musikaalin kääntäminen riimittelemättä on toki mahdollista, mutta suomalaisissa teattereissa arvostetaan riimejä. Riimit tuovat tekstiin huumoria, yllätyksellisyyttä ja rytmiä. Lisäksi ne tekevät tekstin muistamisen näyttelijöille helpommaksi”, Hakola sanoo.

Loppusointujen lisäksi ongelmia voivat aiheuttaa lauluteksteissä käytetyt yksitavuiset sanat. Monet kielet vilisevät lyhyitä sanoja, joille on vaikea löytää vastinetta suomen kielen sanastosta.

”Törmäsin kerran listaan, johon oli kerätty kaikki suomen yksitavuiset sanat. Niitä oli vain pari kymmentä. Lisäksi osa lyhyistä sanoista ei ole musikaaleissa kovin käyttökelpoisia. Esimerkiksi sanalle luu tulee lyriikassa melko harvoin tarvetta!”

Teknisten vaatimusten täyttämisen lisäksi kääntäjä tulkitsee teosta. Mitkä ovat hahmojen motiivit, miksi he sanovat sanottavansa? Viittaako teksti itseensä tai muihin teksteihin?

”Taidetta saa kukin tulkita miten itse haluaa, mutta kääntäjän tulkinta on siinä mielessä erikoisessa asemassa, että hän jakaa oman näkemyksensä yleisön kanssa.”

Hyvän käännöksen merkit

Omiksi suosikeikseen musikaalikääntäjistä Hakola nostaa monia musikaaleja englannista saksaan kääntäneen Michael Kunzen ja Stephen Sondheimin musikaalit Sweeney Todd ja A Little Night Music suomentaneen Juice Leskisen.

Hakolan mukaan hyvän suomennoksen tunnusmerkistö on yksinkertainen: hyvä käännös on hyvää suomen kieltä ja kunnioittaa alkuperäisen tekstin sisältöä ja tyyliä. Jos suomennos on tehty riimikaavan mukaan, Hakola arvostaa täydellisten loppusointujen käyttöä. Täydellinen loppusointu alkaa aina painollisesta tavusta, puolisointu puolestaan rimmaa vain osittain.

”Moniin muihin kieliin verrattuna suomi riimittyy huonosti. Riimittely on paljon helpompaa esimerkiksi englannin ja saksan kielillä. Taitavimmat riimittelijät, kuten Juice, käyttävät kuitenkin aina täydellisiä loppusointuja”, Hakola kehaisee.

Hakola toteaa hyvän käännöksen olevan hyvä lähtökohta kaikille musikaalin työryhmän jäsenille.

”Käännös on pieni osa esitystä, mutta se on kaiken muun pohjalla”, hän toteaa.

”Mielestäni on tärkeää, että musikaalit nimenomaan käännetään eikä niitä esimerkiksi tekstitetä. Äidinkielisyys tuo sekä näyttelijöiden tulkintoihin että katsojien kokemukseen ihan eri tavalla tunnetta mukaan.”

Käännös ei Hakolan mukaan synny säe kerrallaan vaan kokonaisuutta ajatellen. Suomennettaessa alkutekstistä katoaa aina jotain, mutta mukaan voi myös tulla jotakin lisää.

"Alkuperäisen tekstin sanavalinnoista ei kannata pitää kynsin hampain kiinni, vaan on uskallettava mennä syvemmälle merkityksiin. Jos kirjailija olisi kirjoittanut tekstinsä suomeksi, mitä hän olisi sanonut?"

Kuva: Ari Ijäs.
Lue lisää: Marika Hakolan gradu Tekstien tanssi – Intertekstuaalisuuden kääntäminen Michael Kunzen musikaalilibretossa Tanz der Vampire. Kaikki, mitä haluat tietää Tanz der Vampire -musikaalista.

Finnish Musicals: Surprising Successes

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

Oftentimes, a success is a surprise. The musicals near and dear to Finnish theatre fans’ hearts aren’t always staged on the biggest stages in Helsinki. And sometimes, people even travel to Finland just to see a musical!

“At first, people were frightened. You can’t show transvestites here, we’ll be tarred and feathered and sent to the nearest train station”, director Olli-Matti Oinonen reminisces. He directed the first Finnish production of Rocky Horror Show.

“But soon, everyone realized we had a treasure of a musical in our hands.”

The queen of all cult musicals, Rocky Horror Show, first seduced Finnish audiences in Seinäjoen kaupunginteatteri in the spring of 1995. Seinäjoki is a middle-sized Finnish town on the western side of the country, in the middle of what’s sometimes called the Finnish Bible belt.

Rocky Horror Show was indeed seen as a risk for the town’s theatre. It turned out taking the risk was worth it.

“The audience loved the show. I didn’t hear a single negative word. The reaction showed there’s an accepting atmosphere in the region”, Oinonen says.

Rocky Horror Show has been raising audiences’ eyebrows ever since premiering in London in 1973. The science fiction musical features a bunch of aliens from the distant planet of Transsexual and a goodie-two-shoes earthling couple that stumbles across the aliens’ castle on a dark and stormy night. The aliens’ wild ways soon cause tension in between the young couple.

The show isn’t best known for its story, but for the way the audience takes part in the action. When watching Rocky Horror Show, you’re allowed to yell comment at the actors, throw toilet paper onstage, blow a whistle, wear a funny hat...

In Seinäjoki, the audience was encouraged to take part in the fun by a special theatrical cheerleading squad.

“The squad was the motor that kept the show running. The script has its flimsy parts. With the squad yelling commentary, the show stayed alive and interactive”, Oinonen describes.

”The best part was how the squad evolved during the run of the show. They adlibbed new comments that were sometimes written down and brought back during subsequent performances.”

Rocky Horror Show's Seinäjoki cast recording is nowadays a collectible.

Sold-out Performances and Recordings

Rocky Horror Show was a hit with the audiences. After theatre critic Jukka Kajava praised the show in Finland’s biggest newspaper Helsingin Sanomat, multiple performances sold out in no time.

The production even got its own cast recording.

Rocky Horror Show’s songs have been recorded dozens of times all around the world. But in Finland, recording a foreign musical is really uncommon. Today, the Seinäjoki Rocky Horror CD is a rare collector’s item.

“Ten years ago, a New York based magazine called the CD one of the best Rocky Horror recordings ever”, Oinonen mentions.

Finland’s first Rocky Horror Show ran for two and a half years. It would’ve sold even more tickets if the run could have been continued on weekends only, but the repertoire theatre’s other plays had to be fitted in the performance schedule too. Rocky had to give way to other shows.

After the Seinäjoki production, Rocky Horror has also been performed in Turku, in Finland’s both official languages. Åbo Svenska Teater produced the world’s first Swedish-speaking production of the cult classic in 2002, and the Finnish-speaking Turun kaupunginteatteri brought the show back in 2013. Fans saw the show again, but both Turku productions closed faster than the Seinäjoki original.

“We were foolhardy and had a really good team spirit with the whole cast and crew”, Oinonen muses over the Seinäjoki success.

A scene from the latest Finnish Rocky Horror Show,
Turun kaupunginteatteri's 2013 production. Photo: Otto-Ville Väätäinen.

The Fearless Vampire Killers

Seinäjoen kaupunginteatteri has been the stage for many Finnish premieres of well-known international musicals, such as Aspects of Love and Titanic.

The latest musical imported to Seinäjoki was Tanz der Vampire, one of the most popular European musicals. The Finnish production used the German script but borrowed its name, Dance of the Vampires, from the flopped Broadway production. Fans soon translated the title to Finnish and called the show Vampyyrien tanssi.

Vampyyrien tanssi premiered in Seinäjoki in the autumn of 2011. The musical was again directed by Olli-Matti Oinonen.

“Seinäjoen kaupunginteatteri was looking for a rock musical. I had already suggested Tanz der Vampire for a couple of Finnish theatres, but they had only laughed at the idea and claimed that no one’ll want to see a musical like that. I felt that Seinäjoki would be the right town for this show. Tanz served as a sort of a sequel for Rocky, after all. In Rocky we travelled to Transsexual, in Tanz to Transylvania.”

Tanz der Vampire is based on Roman Polanski’s movie The Fearless Vampire Killers. The story parodies vampire films. A vampire count seduces a country girl, and a vampire hunter professor and his lovestruck assistant try to save her.

The story is told through Jim Steinman’s music. Some of the tunes are familiar from Meat Loaf’s and Bonnie Tyler’s albums.

Tanz der Vampire is a big hit in Central Europe, for example in Germany and Hungary. Most of the Central European productions are replicas of the original Austrian version. The Seinäjoki production, however, was an all-new version.

“Even though I say it myself, ours was the best”, Oinonen laughs.

“It had the best cast and crew I have ever worked with. The team spirit was incredible, and we overcame all obstacles together.”

Vampire count (Jyri Lahtinen) leads the lovely Sarah (Raili Raitala)
to the dance floor. Photo: Ari Ijäs.

A Ticket to Seinäjoki

News about Vampyyrien tanssi quickly reached the fans of the musical. During the musicals’ time in the theatre’s repertoire, Seinäjoki saw visitors from all over Finland and even farther away.

Kim Holte traveled to Finland from northern Norway. Micha Salet flew from Amsterdam. Holte saw the Finnish vampires dance twice, while Salet first saw the show two times and later returned for the last two performances.

“When I first heard about the production, I was skeptical about how it would turn out. I didn't plan on going. But after seeing promotional videos, reading great reviews and slowly realising that Finland wasn't that far away, it just happened”, Holte tells.

In Central Europe, Tanz der Vampire is performed in big theatres, and the runs continue for years. Even so, the smaller Finnish version was to international fans’ tastes.

“There were a few directional choices I really liked that I wish they would implement in the other productions. There's an obvious difference in budget for the Finnish show and most of the other versions, but it didn’t make the Finnish show worse, just different”, Salet says.

“The directing stays much the same in other European productions. It's not very imaginative or interesting to watch actors from four different productions do the exact same movements onstage. So Tanssi was new and exciting. I still regret not booking a third show”, Holte adds.

Before Vampyyrien tanssi’s last performances, people queued for return tickets. Despite the success and the sold-out seats, the musical only ran from September to March. Regardless of the short run, the musical still brings fans and vampires together. Cast members have performed the musical’s songs in concerts, and the fans still meet each other every Halloween.

“It says something that I come back every year to meet up with my friends and reminisce about the show”, Salet says.

“We meet up with the musical’s cast every summer. I believe that’ll continue for years to come”, director Oinonen tells in turn.

Vampire hunter Alfred (Ville Salonen) gets a scary hug from
viscount Herbert (Jouko Enkelnotko). Photo: Ari Ijäs.

Emigrants in Helsinki

The men of ABBA, Benny Andersson and Björn Ulvaeus, are the composer and lyricist behind Sweden’s most popular musical Kristina från Duvemåla.

The musical premiered in Malmö, southern Sweden, in 1995. The production ran for years, and it was seen by over a million Swedes – almost one eight of Sweden’s whole population at the time.

Finland is the first foreign country to bring a fully staged production of the Swedish hit onstage. Kristina opened Svenska Teatern’s newly renovated building in early 2012. Swedes were quick to travel to Helsinki to see their favourite musical again.

“Out of the hundred thousand audience members, about a fourth were Swedish”, theatre manager Johan Storgård tells.

“Another fourth were Finnish-speaking Finns who had never visited the Swedish-speaking Svenska Teatern before.”

Kristina från Duvemåla is a big musical epic. One performance lasts for three and a half hours. The original cast recording is split on three CDs and features 39 songs. Based on Vilhelm Moberg’s four-part novel series The Emigrants, it tells story about a group of Swedes who immigrate to the US in the middle of the 19th century.

During each three-hour performance, the musical features both moments of joy and plenty of sorrow and death.

Outside the Nordic countries, Kristina’s story hasn’t become a hit. There have been Kristina concerts in both New York and London, but no onstage productions.

“In the UK and the US, theatre producers are worried that the musical is a little bit dark. It’s a love story in between Kristina and her husband, but it has a really tragic ending. The audience cries for two and a half hours out of the three-and-a-half hour performance”, theatre manager Storgård describes.

“A story like that suits the Nordic state of mind better than for example Central European or British mentalities.”

One of the musical's rare happy moments.
Photo: Cata Portin.

Return Ticket to Duvemåla

Despite its sorrowful story, Kristina från Duvemåla has fans all over the world. Thanks to composer Andersson and lyricist Ulvaeus’s fame, countless ABBA fans are familiar with the musical.

Svenska Teatern’s production was in the news all over Europe. The theatre prepared for international visitors by subtitling the show in English.

“There were lots of Germans in the audience, and we even had visitors from Australia, America, Japan...” Storgård lists.

At the very moment, ABBA draws audiences to Svenska Teatern again. This time, Mamma Mia!, the jukebox musical featuring ABBA’s biggest hits, is playing in the theatre.

Unlike Kristina, Mamma Mia! is a hit all over the globe. Svenska Teatern’s version has also been received with enthusiasm. Tickets for autumn 2015 were sold a year in advance.

Kristina, then, has returned home.

“Last autumn, Kristina från Duvemåla premiered in Gothenburg. The new Swedish production stars all four leads from Svenska Teatern’s version and also features the same sets. We have worked together with GöteborgsOperan to return the musical to Sweden”, Storgård says.

Finnish actresses Birthe Wingren and Maria Ylipää star in Kristina's
new Swedish production. Photo: Mats Backer.

There Is a Flame That Never Dies

A disclaimer of sorts: I'm a member of Eclipsis ry, which in turn is associated with the subject of this post. I was also requested to write a little something about this. So, here come my thoughts...

I've said it before – the saddest thing about theatre, and also the thing that makes the artform special, is how it isn't permanent. No matter how much you love them, your favourite cast members are going to leave, your favourite shows are going to close, and the video you saw the theatre personnel recording once will be hidden in the theatre's dark vaults for all of eternity.

Sometimes, however, the magic stretches out a bit. Seinäjoen kaupunginteatteri's production of Tanz der Vampire closed over a year ago, but boy, does the production's ghost refuse to die down. And boy, am I glad about that.

Last spring, some of the Tanssi alumni performed at a May Day Revue at Seinäjoen kaupunginteatteri (I wrote about that back then). Our eyes were still red from sobbing about the death of the production – the May Day concert gave us fans something new to obsess about for weeks instead of keeping wallowing in the unfairness of the show closing too soon. Largely because of this concert, and it's aftermatch in the fandom, Tanssi kept growing on me long after the production had closed.

And now, this spring, the vampires had another piece of happy news for the fans: next week, there'll be concerts again, complete with a fan meetup and everything. Thinking about it, I guess there's nothing to be surprised of here. Vampires live forever, after all...

There's something so heartwarming about the fact there is enough will and energy to get a thing like this done. That the performers, who just as well could've thought their job with Tanssi was done after the last curtain closed, come together once again to give us something new to squee about for the next year. And the fact that there's still a Tanssi fandom who will be there to scream.

These kinds of flashbacks to productions especially close to my heart are, to me, better than most full-blown musicals I've seen. Apart from Tanssi, once again, Åbo Svenska Teater can be used as an example. There's watching a perfectly fine production of Hair at ÅST – and then there's going to a student concert at said theatre and hearing a hilarious three-person version of One Day More. One is nice. The other hits you in the head with a considerable force and starts a lovely flood of flashbacks, leaving you smiling from ear to ear.

I have a feeling these concerts will be the same. While many musicals are good, only a few steal your heart. Somehow, us fans are lucky enough that at least one of those few keeps having these reunions.

Only a week to go anymore.

Say hi if you'll be at the concerts too! Actually, it appears I've volunteered to sell tickets at Tampere. Mention my blog and you will get no discount whatsoever! The mention will make me happy, though.

Vampire Fates

When I took my matriculation exam, one of the subjects for the Finnish essay was Why Do Vampires Fascinate People? I wrote about vampires as a metaphor for sexuality and used Tanz der Vampire as an example – and got the best grade. I'll recap some of those thoughts here. Everyone's free to both agree and disagree.

I think it's a pretty valid interpretation that, in Tanz der Vampire (as in many other vampire stories), becoming a vampire is a symbol of one's sexual awakening. Early in the show, it seems like Sarah has a choice to make: the vampire count symbolises sexuality while Alfred symbolises romantic love. What makes Tanz different from many stories with similar symbolism, like The Phantom of the Opera, is that in the end, Sarah chooses both – by turning Alfred into a vampire.

However, in Tanz der Vampire, becoming a vampire could also symbolise freedom. That's how Sarah sees it: she dreams of attending the vampire ball and uses the Count as a means to escape her boring, restrictive life. She later finds out that the reality of being a part of the vampire world isn't quite like her dreams. Alfred, then, first seems afraid of the vampire world. As the events advance, he gains more understanding about vampires and secretly dreams about being one of them.

The story ends well for both Sarah and Alfred. The both walk to their own, separate directions (at least in the Finnish production). They're free from their old lives, free from the people who used to control them, ready to decide their own fate.

All in all, becoming a vampire can be seen a symbol of all sorts of positive things – if we erase one of Tanz der Vampire's characters from our minds. How does Magda, the servant girl harassed by the inkeeper Chagal and then turned into a vampire by him, fit all of this?

I'd say she doesn't.

Magda, unlike Sarah, doesn't become a vampire willingly. Chagal, the innkeeper who has been harassing her, drains her blood while she's kicking and screaming. Before Magda turns into a vampire, she talks about her hate towards Chagal – but after growing some fangs, we see her getting close with him.

Becoming a vampire is definitely a sexual awakening for Magda too. Her newfound feelings are, however, directed towards a man who didn't care about her consent while making his advances previously. Instead of getting a revenge or gaining some benefit for herself, Magda's role as a vampire seems to be fulfilling Chagal's dream. All the others gain something in the transformation. Even Chagal, who is easily the most despicable of the musical's characters, gets the freedom to chase skirts all he wants. Magda is the only one who gets nothing. Her so-called happy ending is that she learns to accept her situation.

Sure, Tanz is a parody of vampire stories, so you need to have a stereotypical sexy vampire lady in there. But still, I think the implications of Magda's fate are horrifying. She stands up to Chagal in Tot zu sein ist komisch, but in the end, Chagal gets completely off the hook. There are very, very unfortunate undertones in there: if a man continues to harass a woman long enough, she will finally give in... Unlike Sarah, Magda doesn't get the chance to become the independent hero of her own story.

I can't but hope Magda's appearance in the Finale – walking center stage on her own to start the last song, then sharing the spotlight with Herbert – is a hint about her future. Maybe she dumps Chagal after the vampire ball, becomes best friends with Herbert, takes over the world? 

Magda deserves way better than the musical gives her, so that's what I'm going to believe.

Photos by Ari Ijäs.

Give us our Tanssi back!

It's becoming a personal tradition for me to do something musical on May Day. Last year, I went to ÅST to see Les Mis. This year, it was time for a musical themed May Day concert at Seinäjoen kaupunginteatteri.
The music was played by a combination of two bands, Seinäjoki City Orchestra and Kauhava Big Band, conducted by Timo Ristilä. The singers were all former Vampyyrien tanssi cast members: Jouko Enkelnotko, Jyri Lahtinen, Leena Rousti, Ville Salonen, Sami Vartianen and Anne Vihelä.

Seeing every singer and even the conductor worked at Tanssi, and with the concert being staged at the theatre that used to do the show... It wasn't unrealistic to look forward a small nod or two in the vampire fandom's general direction.
But boy, I had no idea how amazing an experience the concert would actually be!

 Sami Vartiainen and Jyri Lahtinen in a happy May Day mood.

Indeed, everyone had figured the concert would have a couple of treats for vampire fans - t-shirts with the musical's logo and teeth a bit sharper than usual were once more spotted among the crowd at Seinäjoen kaupunginteatteri's foyer.  Some former members of the Tanssi ensemble were present, even.

However, the first act of the concert went by - in retrospect! - quite calmly. We clapped, we screamed, but we hadn't yet a reason to go absolutely insane. Even though they played Tanz der Vampire's Overture and joked a bit with vampire teeth at one point, the music selection was well suited for regular audience members too. They played tunes from West Side Story, A Little Night Music, Chess and more. Everyone sung well, Sami Vartiainen's dancing was impressive during the Singing in the Rain number, the band sounded grand.
So far, so good.

And then we heard Count von Krolock's voice from the speakers, announcing that after intermission we'd be returning to Transylvania...

Jouko Enkelnotko as Herbert von Krolock, once more.

Return we did. The first half of the second act was pure, unadulterated fanservice for the members of the Tanssi fandom present.
Want to hear Jyri Lahtinen sing Krolock's part in Kun kaikki pimenee/Totale Finsternis once more? You got it! How about Kun rakastut/Wenn Liebe in Dir ist - but with Alfred's and Herbert's parts reversed? Why not! Or... ever wanted to see a drunk Count von Krolock? Here you go!
We saw stuff happening onstage that is usually only joked in fangirls and boys' conversations. I didn't imagine laughing this much at any concert!

I've no idea if there were people in the audience who hadn't seen Vampyyrien tanssi or saw it but didn't like it. A couple of senior citizens seated in the front row seemed a bit annoyed at the audience around them, but frankly, I don't care too much if they disapproved of my screaming. For the fans present, the concert was a fantastic - though brief - return to the musical we loved so much. The vampire-based numbers, as well as the rest of the second act with Sweet Transvestite from The Rocky Horror Show and more, were done perfectly tongue-in-cheek.

We rewarded the hilarity with standing ovations at the middle of the show, with screams and applause. I don't think my palms have ever hurt quite as much after leaving a theatre.

Among others, some sweet transvestites...

When the show had ended and I was approaching the front door with my friends, a lady who we had never seen before shouted at us - maybe she spotted my Dance of the Vampires logo t-shirt or something:
"Hey girls! You should start a petition to get Tanssi back!"
I'm sure it'd be useless, but I still kind of feel like doing that - just out of protest. It's been over a month since the last performance, but I'm not yet done with my annoyance over the show's closing. I'm not sad. I'm plain annoyed.

There are people who would've wanted to go but couldn't get tickets. The people who did... It seems almost everyone saw the show at least twice, and I haven't heard of anyone who would've seen it without liking it. The fans certainly still miss the show. The ensemble members I met yesterday told me the cast misses it, too. It was also clear the actors had a good time doing the show, and that made watching it hugely enjoyable.
In short, I've never felt such a strong connection in between members of the audience, in between the cast and the fans, at any show I've ever seen.

I can't but wonder what is wrong with the people who make decisions at Seinäjoen kaupunginteatteri.
How could they let Tanssi die?

Photos by Miss V. - and, for once, taken inside a theatre auditorium with permission!

Tanz and Fans

I saw the Finnish version of Tanz der Vampire in Seinäjoken kaupunginteatteri yesterday again, for the fourth time. My last time.

That's a shame. I love Tanz. After seeing it for the first time, I rushed back the next week, I was that impressed. It's the most entertaining musical I've ever seen. What's more, the Seinäjoki production is so filled with insanely talented people that it's been pure joy to watch, every time.
The production closing is a shame for another reason, too.
Continuing the trend Wicked started, though with an even grander force... Tanz seems to have a huge fanbase, by Finnish standards at least. It's a musical that gathers fans wherever it's being produced, and I'm glad it's been brought here. I find it really nice that the standard Finnish way of going to theatre - the buses full of often uninterested senior citizens (I've heard of a play's start being postponed because they had to wait for a bus of seniors stuck in the traffic) - is changing a little, at least in some cases.

During the last few months, the ÅST Les Mis started gathering a small fandom. A small fandom: doing a headcount of the fellow fans I know, eight people. Seeing I can't know everybody, I guess it's safe to suppose the production had about twenty big fans by the end.
This Saturday alone, at least twenty big Tanz fans gathered in Seinäjoki. Probably more. Just sitting in my seat, I was surrounded by fans: behind me sat a kid with his mother who had seen the show four times. Next to me, a guy who had been there seven times. Chatting with them cheered up my day. Normally, strangers don't talk to each other in theatre (or anywhere else, for that matter) in Finland, but yesterday, it was surprisingly easy. "How many times have you seen this?" turned out to be a great conversation-starter!
What makes this, in my opinion, extraordinary, is that yesterday was just a normal day. It wasn't the last show or anything, just a standard matinee performance. With probably a half of the audience seeing the show not for the first time. Some with vampire makeup.

Talking to a couple of fans during the intermission, and just looking around, keeping my eyes and ears open... I'm actually a bit sad that I'm not a full-time member of the group. It seems like a fun fandom to be a part of!
I've seen Tanz and I appreciate it, but I don't love it in the same way I love Les Mis. That's also why I've been distracted from it. By normal people standards, four times is already a lot - but if Les Mis didn't exist in Finland at the same time as Tanz, I'd probably done twice as many visits to Seinäjoki during these past few months. As it it, however, I don't feel I'm involved enough to call myself a huge fan: I haven't seen any other productions, I don't have clear knowledge about actors who have played the roles before. I just enjoy the Finnish version. And even then - I haven't even drawn proper fanart of it...
Despite that, I'm in a state of refusal about having seen the show for the last time. Yesterday was, performance-wise too, the best time I've ever had seeing the musical. I want more! I feel there's still a lot for me to discover. I'd need a couple times more to observe all the details and then a couple more to think about what they actually mean.
But, unless a miracle happens, Tanz'll close next month. We got to keep the ÅST Les Mis for a year and a half. I've a feeling Tanz would have what it takes to keep going just as long, and probably longer. People from all around Finland were present yesterday, it's not as if only people who live near Seinäjoki come to see the show. And still, Tanz's fans can't even have one full season.
I don't know about you, but this seems unfair to me.

Dear Tanz fans, scream a little on my behalf in the derniere, too?

Picture from Seinäjoen kaupunginteatteri's website.
My review of the Seinäjoki Tanz: click!