IKEA! IKEA! IKEA!

Please note: Wasa Teater invited me to see this musical for free because it'll be featured in the Finnish musical podcast Musikaalimatkassa that I co-host.

Wasa Teater's Ingvar! – en musikalisk möbelsaga is an odd musical.

It's a sung-through musical about the furniture chain IKEA and its founder Ingvar Kamprad. Instead of painting a realistic picture of its titular character, though, Ingvar! turns the man into a myth and presents him as the messiah of the religion called capitalism. All this is told via cheerful folksy music – in Swedish, of course.

I loved it.

Ingvar! is composed by Erik Gedeon, with lyrics by Klas Abrahamsson. It premiered in Hamburg in 2009 ("Das Wunder von Schweden, eine musikalische Möbelsaga"). It debuted in Sweden in 2010, and since, it's been popping up in theatres all around the Swedish-speaking corner of the world.

In Finland, Ingvar! has been performed in Helsinki (Svenska Teatern, 2016) before. In September 2017, it premiered in Wasa Teater in Vaasa, directed by Markus Virta.

Me and my friend met up with actors Anna-Maria Hallgarn and Erik-André Hvidsten before the show to record an interview for our musical podcast Musikaalimatkassa (here's a link to the interview in English and the full episode in Finnish). Among other things, we talked about how reserved Finnish theatre audiences can be: someone might think a play is the funniest thing they've ever seen, but if everyone else in the audience is quiet, they don't dare to laugh out loud.

Ridiculous, isn't it? Well, sure enough, watching Ingvar! in Wasa Teater, I noticed I was acting exactly like that stereotypical Finn, stifling my laughter because no one around me was laughing. Remembering the conversation, I can't help wondering if all the people around me were doing the same...

I mean to say that Ingvar! is hilarious.

It's so funny. Something about the contrast in between the catchy music, the subject matter – the birth of a multinational furniture mammoth – and the lyrics – ranging from awkward praise of the Swedish countryside to songs about revenue and exploiting foreign workforce – got me. It's a weird combo, but really delightful at that.

Ingvar! presents Ingvar Kamprad's life story like a twisted version of The Life and Times of Scrooge McDuck. From the moment he is born, little Ingvar's family starts teaching him in the ways of capitalism. And sure enough, he grows up to be a first-grade capitalist, one who swears by moderate pay but also moderate living.

As the show progresses, the story of our hero gradually turns into mythos. Ingvar is loved and lauded as a genius, then crucified (quite literally!) for being a Nazi symphatizer and heaven knows what else, but not even death can quite hold him back. By the end of the story, the fictional Ingvar is completely divorced from reality. For starters, the real Kamprad is still alive...

The show also recounts the beginnings of IKEA. I've never really thought about IKEA having an origin story.

I'm young enough to feel like the stores have always excisted here in Finland, it's simply the way everyday furniture shopping is done. It's fun how Ingvar! makes you think about the concept. Picking your items from a warehouse all by yourself and everything in the store from the colours of the building to the menu of the restaurant proudly oozing Swedish vibes seems normal since we're used to it, but indeed, someone's had to come up with those ideas – and at first, they might have seemed weird to others.

The musical is in Swedish, but the theatre offers subtitles in Finnish and English. That's good. After watching Les Misérables in Swedish for around 20 times, I'm getting a good grasp of standard musical vocabulary – you know, love this and revolution that... But here, with lyrics about bank balance and salaries, it's good to have a translation at hand.

The musical has a cast of eight: Johan Aspelin, Anna-Maria Hallgarn, Erik-André Hvidsten, Saara Lehtonen, Thomas Lundin, Richard Mitts, Tove Qvickström and Maria Udd.

Hvidsten portrays the titular character from cradle to grave. The others act like a Greek choir of sorts. They're relatives, employees, pieces of furniture (!), praising Ingvar one minute and bashing him the next. The cast doubles as the orchestra. They're a multitalented group, playing everything from violin and guitar to accordion and reed organ.

The cast sounds fantastic together, both the vocals and the instrumentals. This musical is a joy to listen to. It also looks like they're having fun onstage – so it's easy to have fun in the audience, too.

If anything, I'm sorry I didn't see the first Finnish production of Ingvar! in Helsinki. But better late than never. Watching this musical was way more fun than any shopping trip to IKEA ever could be.

Photos by Frank A. Unger.

Something Next to Normal

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It's Gonna Be Good?

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

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

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

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

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

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

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

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

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