Thursday, June 30, 2011

Who Mourns the Wicked?

I started to really wonder about the magic of Wicked after I wrote my last post. There I, practically in the same sentence, claimed that Wicked's not that amazing a musical, and then gushed about giving the actors mini-sized plushie versions of their characters to remember Wicked forever. Clearly the show has something special about it, but what?
Knowing I couldn't figure this out myself, I asked help from an expert...


Wicked was a strange event in the Finnish theatre scene in every way.
It wasn't any theatre fan's first guess of a show Helsinki City Theatre would do. But even though The Wizard of Oz is practically unknown in our country, and a show that grand was deemed way too expensive by speculators, Stephen Schwartz himself wrote something surprising on his website last year: Wicked's composer was glad to announce that a new production of his fantasy musical would premiere in Helsinki, August 2011.

A Wicked fanclub head Riikka Kiviaho explains:
"As far as I know, Wicked was, above all, important to the director Hans Berndtsson. He had seen the original version many times and had planned bringing it to Helsinki City Theatre for years. He wanted to bring something new to the show, and, after long discussions, managed to convince the decision-makers. Finland would be the home for the world's first non-replica Wicked." 
Berndtsson indeed brought a lot of his own to the production. He wanted, for example, to hint to Finnish history and to the 1939 movie: the Wizard's new look was designed after Soviet Union leader Joseph Stalin, whose troops fought against the Finnish forces in World War II, and Dorothy, straight from silver screen with her brunette braids and iconic blue dress, was introduced to Finnish audiences onstage.

The leading ladies of Wicked, Anna-Maija Tuokko and Maria Ylipää.

Despite the unique approach, critics didn't exactly adore Wicked, but audiences loved it. It was, with 65 842 spectators, Helsinki City Theatre's most popular play in the 2010-11 season. It even caused some discussion outside Finland’s borders: seeing videos online, international fans debated about whether Wicked’s new design was too far from the original or nicely refreshing. Many Finnish viewers, then again, described Wicked as unbelievable and once-in-a-lifetime experience.
Unexpectedly, Wicked closed only after one year. The reason is up to speculation; the production might be too expensive to keep up.

But so what, you ask. It’s live theatre. Productions come and go.

Yes – but what made Wicked a truly unique experience was the fans’ reaction. It’s not often that people get really involved in shows in the manner West End and Broadway in Finland. Yet Wicked has a Finnish fan club, ran by Riikka Kiviaho. Surprisingly, she’s not a long-time Wicked enthusiast:
"Before Wicked I went to the theatre really rarely, about once per year, usually to see a musical. And I was, at first, a little confused about the ads for Wicked. I hadn't heard of the show before and thought the green witch on the posters looked weird. But when Wicked premiered, a friend of mine praised it to me and I decided to find out a little about it, just out of curiosity.
Soon I had bought tickets to a performance that'd change my life in an amazing way. I fell in love from the first notes and that show was the strongest experience of my life so far – only the last performance in May could top it.”

Anna-Maija with fans.

How did the fan club come about?
"Wicked Fanclub Suomi was born on New Year's Day 2011. I had been interested in the fan culture around Wicked for quite some time, and especially the German fan club fascinated me. I wanted to find out if there would be a similar fanbase in Finland, and I also wanted to honor the unique Finnish production.
The club’s main objectives were to gather Finnish Wicked fans and inform them about all things Wicked. It got an amazing start, and after a month there were already a hundred members. They really wanted to show their support and plan new fan activities.
I was, and still am, amazed to see what my idea has grown into. When I found the club I never dreamed it would reach almost 200 members, forty of them really active, new ones still popping up even after the production has closed. Let alone having the full blessing of Wicked’s cast and crew!”

The fan club’s mere existence surprised the actors of the show. “It’s amazing. It’s really rare for any musical to gather a fanbase like this here”, they’ve enthused.
“When I first met Maria Ylipää, the Finnish Elphaba, at her gig before founding the fan club… I was horribly excited! After all I gathered my courage and went to talk to her. The meeting went really nicely and it was great seeing her expression when I told her that I’m a Wicked fan. Later on I got to know the cast of the show more closely, they started recognizing me in the theatre and we often met by the dressing rooms. They clearly appreciated the fans that came to see Wicked again and again”, Kiviaho tells.
Ylipää explains further in Gramexpress magazine: “The feedback has been incredible. The fans have sent us drawings and written about how they believe in dreams again. I feel like I’ve done something with a meaning. -- This’ll stay a unique experience in my life.”
Even the director Hans Berndtsson was really excited about the club from the beginning, to the point where he travelled to Finland from his home country Sweden to greet the fans at a meet.

The meet is one of the things Kiviaho is most proud of when talking about the club.
“In the meet about thirty fans toured the theatre with Hans. We got to see the sets and props, briefly met Tuukka Leppänen who plays Fiyero, and enjoyed the programs, posters and green drinks the theatre provided for us. After the show we got to meet the leading ladies, Maria Ylipää and Anna-Maija Tuokko – they were almost more thrilled about the event than we were! We got to hear back then, and afterwards too, that our passionate group of fans had left a lasting impression on the cast. They said it was just like performing on Broadway!”

Fans, Hans and the Wicked set.

The actors are certainly not the only people forever influenced by their experience with Wicked. The fans have also been touched for life. According to Kiviaho many of them, herself included, saw the piece over ten times.
“Everybody would certainly have seen the show more if they could’ve! The record for most times seen must belong to an older gentleman though – he allegedly saw it almost every week.”

What is it about Wicked, then, that draws people in again and again?
“Personally I’ve been captivated, ever since the first time, by the overall impression the show gives: I’ve always been completely absorbed in the story, the actors, the music, the sets, the choreography… The amount of details is incredible, and without talking to the cast I probably wouldn’t have noticed most of them!
The most inspiring themes in our fandom conversations, then again, have been accepting difference, finding one’s inner strength, believing in your dreams, the characters’ inner growth, everlasting friendship and the many faces of love.”
No wonder Berndtsson is happy about the fan club. When he spoke about Wicked before its premiere, he stressed that his version is all about accepting difference and the many aspects of love. Judging from their conversation topics, the production’s young fans truly saw what the director wanted to tell.

The secret love story of the witches of Oz is a very important detail for Kiviaho:
"It's something the audience won't necessarily get unless they watch it from a certain point of view, but the Finnish version had many hidden messages, and I’m extremely grateful for that. In the final show Maria and Anna-Maija paid their respects to the story of their characters and, instead of hugging after For Good, kissed each other. In my opinion that was the perfect tribute to Wicked’s essence – accepting difference."

Thank you, Wicked.

The last Finnish Wicked was a huge, emotional moment for both the fans and the cast. The actors knew there’d be fans awaiting a special night in the audience.
“The club had a goodbye event in May. It wasn’t as grand as the previous meet, but instead we gathered together to enjoy ourselves, to reminisce the months gone by and to say a special goodbye to the Wicked cast. There were lot of us around the theatre even before the show and the mood was electric.
The cast gave their best, the audience gave their best, and the result was an emotional spectacle everyone will remember for the rest of our lives. Both fans and cast had tears in their eyes, there were Thank You signs in the audience, confetti was flying and the volume was straight from a rock concert.
Maria and Anna-Maija met us fans after the show once more. We could see the fanbase Wicked had gained was something really new and very touching to them too.”

What does the future hold in store for the fan club now that the production’s over for good?
“The days after the last performance were quite depression-filled – we woke up to understand that none of us would ever see the Wicked we fell in love with again. But there was also gratitude: the story has inspired so many, given us strength to believe in our dreams and changed our lives for the better. Now the situation is calmer, even though fits of yearning still come and go.
I think it’s important the fandom activity continues. It’s much needed, if only from the peer support point of view… Knowing that people have gotten joy to their lives thanks to it is the best prize for running the club.
As for future plans, there’ll be a Wicked Summer Meet in the beginning of August, and the fans have been seeing other productions by the cast ever since Wicked ended. Myself, I have started appreciating theatre in a whole new way after Wicked and will surely see more than one show per year from now on.
I dream of seeing the original production of Wicked, too. But I’m afraid I will miss the astonishing atmosphere and the bond between the actors and the audience of Helsinki City Theatre’s version when watching Wicked on Broadway!
It was truly amazing to see how the Finnish Wicked developed during these eight months, always towards the better. It was a big, meaningful and touching experience for both the fans and the cast and crew, so we connected quite naturally. Thanks to that connection, many people from Wicked are still important parts of my life, even though the musical itself is over.”

Maria, Riikka and Anna-Maija.

Pictures belong to Riikka Kiviaho - visit her at her blog!
Sources:  Gramexpress 2/2011, MTV3 Uutiset
If you wish to know more, you can read a quite detailed review/description of the Finnish Wicked: click.

Wednesday, June 22, 2011

My Finnish Musical Year 2010-11


A Retrospect of Musical Theatre in Finland, 2010-2011


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


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


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

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


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

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


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


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

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

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


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


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

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

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

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


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

Pictures from the theatres' websites.

Friday, May 27, 2011

Les Mis album comparison VI

It's been forever since I did the last one of these. (Edited to add: this is indeed the last entry in the album comparison series. Sorry for not finishing, if you enjoyed this...)
I don't know how many people read this blog, and I don't know how many of them care about comparing Les Mis cast recordings, but I want to finish what I started. So, Les Mis album comparison, part IV.


On My Own
I'll start this off by confessing two things:
The first time I saw Les Misérables, I literally thought "oh, I hate this song so much because it's the traditional sad unrequited love song and she's just moping for three minutes - but I'm still going to sing along this a million times when I get the CD". I was right.
Nowadays, one of these On My Owns is the Les Mis song with most hits in my iTunes.
Go!

London 1985
Francis Ruffelle as Eponine.
Starts softly, slower than what I'm used to. From the beginning, the instrumentals are pretty and mournful - they remind me of a cold wind, someway.
I know everybody doesn't like Frances Ruffelle, but I have always liked her Eponine. She's got an unique voice - I don't know why, but I love listening to her. And I really like this recording. When she starts the song softly and quietly, I feel like I'm walking next to Eponine in the dark streets, listening to her troubles. And the more powerful part's not half bad either. Great transition from huge "I have never know" to soft "I love him".
All in all, a gorgeous version.
7 points

Vienna 1988
Jane Comerford as Eponine.
The beginning has a couple of disorienting moments, a weird quick drum and a sound I can only describe as scratching a tile with a rusty nail. Mostly it's pretty though, and Jane Comerfold's Eponine sounds very pretty too.
The orchestration is very simple at some points, with just one wind instrument offering little notes in transitions. I like that. And the further the song is progressing, the better I like Comerfold's voice! How come I haven't listened to this more! The orchestration may get a little too loud by the end, but this is not a bad rendition by any means.
5 points

Paris 1991
Stephanie Martin as Eponine.
This beginning is maybe a bit too thin for my tastes, the previous two had a fuller sound. Same goes with the whole song, actually, except for the very end maybe.
I don't know if it's the language or what, but this Eponine seems a little bit more whiny than the previous two. Martin has a good voice, yes, but it sounds to me like she's complaining from time to time. The previous two held their misery with a little more dignity.
2 points

Denmark 1992
Birgitte Raaberg as Eponine.
Raaberg has a weirdly thin voice. It's pretty, but it does sound a little... I can't find a good word. Not suitable for this song. Also, further proof that Danish is one of the less attractive-sounding languages (I still love Denmark though!)...
And, oh, the orchestration tries to down the singer again, this time with a beat I swear escaped from Do You Hear the People Sing... But yeah, I don't really feel this is Eponine singing here - I think Raaberg might make a more believable Fantine instead.
Also, fail points for mashing four syllables in the space of three by the end.
1 point
Despite all I've said, + for this CD for including Javert at the barricade. He sounds nothing short of awesome when he rants on whatever Javert rants at the barricade in Danish, and the instrumental's are pretty snappy for a change.

10th Ann. 1995
Lea Salonga as Eponine.
Salonga's Eponine is more Eponine-ish than the previous one, but I think I prefer a bit more unique sound for the role. Don't get me wrong, I think Lea Salonga has a beautiful, even gorgeous voice. But it's, maybe, a little bit pretty-princessy for Eponine, the girl whose voice the book the musical is based on describes with quite distinctive terms...
The orchestration and mixing are gorgeous here as always, though. I don't really get the same feeling of intimacy as with some of these CDs, but this sounds good nevertheless.
4 points

Dutch 2008  
Céline Purcell as Eponine.
Purcell has a bit of a shrill tone in her voice that bothers me sometimes, but she's good otherwise and shows some strong emotion through the song.
I think the orchestration has pretty much reached perfection by this point, there's not a part where it wouldn't work. It's grand, of course, maybe too grand for some - but I like some spectacle every now and then!
3 points.

Live! 2010
Rosalind James as Eponine.
I admit, this is the one I've been looping pretty much to no end. I don't know why I like this - maybe James's voice just suits mine the best when I'm belting along the songs? Pretty harmonies, that's what singing along musicals is all about...
Compared to the other Eponines I've heard today, James isn't really the most Eponine-like. She has a great voice, but I remember thinking she's too modern when I heard this the first time, and even though I really like this now... I admit she might not be how most fans imagine the character. The riff she does with "pretending" sounds good, yeah, but, thinking about the nature of Les Mis, is very out of place. This one's hard to rate - I really, really love this as a song, but as Eponine and part of Les Mis... Something's not quite correct.
The orchestrations are as good as the Dutch ones though!
6 points - sorry, personal preference overrides sense this time.


Drink With Me
Guess who thought A Little Fall of Rain is not important at all?
Well, yeah, you know who. Those pølse-eating little... 

London 1985
The lovely, calm feeling I got from On My Own continues here. I can see the barricade boys in my head so clearly and am almost sitting there at the barricade in midst of them. There's a perfect calm, sad tone here.
The female chorus is a bit shrill, though, but the males do a great job. Maybe you could give a little minus from that the song is so beautiful, so calm, that you don't even notice Grantaire's part actually mocks their whole mission... But this is so good for the ears.
4 points

Vienna 1988
The prominent guitar's not a bad add. It might take some thoughts to songs sung by the campfire - but that's what this song essentially is, isn't it, even if the shadow of quick death is looming above them...
This Grantaire sounds a little angrier than the rest. Maybe he's kind of blaming himself. What is he doing here! He doesn't believe in the whole thing and is still killing himself for it!
Male and female choruses sound perfect together.
4 points

Paris 1991
Like the previous two, this had a beautiful, calm mood. The singers have great voices. And, oh, Grantaire... He's perfect. Just the right amount of aggression, not believing they can really stand behind this ridiculous revolution... I can see him, apart from the others with his bottle, alone and angry... And Marius finishes this one beautifully. Many good performances here!
5 points

Denmark 1992
The prominent guitar is back, to my enjoyment. And, for once, the Danish boys and girls do a good job I've hardly anything to complain about. This is beautiful like the previous ones. Their Grantaire is not very strong or different from the rest, but as a whole I think this is almost as good as the London one.
Too bad the overall quality so far is this high - I've a feeling even though this is one of the CDs best songs, it won't get that many points...
4 points

10th Ann. 1995
These soloists sound a bit more like normal people as opposed to many previous CD's great singers. They're not bad here, just more realistic! A good Grantaire again - not too much emphasis on anything, but it can be heard he's bitter for whatever reason.
A good version. Not very special, but a good example of a nice way to do this song.
4 points

Dutch 2008  
The recording makes the revolutionaries kind of closer to me than any before incarnation. And they sound good too! Argh, this is too hard to rank - there are no real weak links! Maybe Grantaire is a little bit too much just one of them here...
Maybe the loud orchestration that works beautifully with some songs is a little disorienting in quiet songs like this one, but the cast soungs very good.
3 points

Live! 2010
The first guy could sound a little calmer, but the others are great again. And this has my favourite Grantaire moment! He really takes all out of his lyrics (you can just see him smiling mockingly and then turning simply hateful there!) and is, thanks to this being a live recording, responded with a "okay, that's enough!" A great, great add.
The chorus sounds a little smaller as it is often with this CD, but here it just brings realism to this scene. There's a little loud orchestration problems here, too, though.
4 points - sorry. I was forced to cheat. These all are great versions and the differences are so minimal it's almost impossible to rank these. So we have a winner, the French, a loser, the Dutch, and everybody else is in between.


Rankings time!
London 1985: 35.5 + 7 + 4 =46.5
Vienna 1988: 20.5 + 5 + 4 = 29.5
Paris 1991: 20 + 2 + 5 = 27
Denmark 1992: 20.5 + 1 + 4 = 25.5
10th Ann. 1995: 48.5 + 4 + 4 = 56.5
Dutch 2008: 44 + 3 + 3 = 50
Live! 2010: 35 + 6 + 4 = 45

The sixth part's final results:
#1: 10th Ann. 1995: 56.5+
#2: Dutch 2008: 50+++
#3: London 1985: 46.5+
#4: Live! 2010: 45++
#5: Vienna 1988: 29.5++
#6: Paris 1991: 27++
#7: Denmark 1992: 25--

I really want to get my hands on the new Polish and Spanish CDs!
I won't be doing all this again, though, when I get them...

Monday, May 23, 2011

Through an Extra's Eyes

This is a bit of a special entry. Instead of my usual rants, I've gotten the incredible chance to interview a cast member of my favourite musical production ever. I give you...

Åbo Svenska Teater's Les Misérables, through the eyes of a professional extra!


“I was like a kid in a candy store who was paid to eat everything!”

According to Valde Wallenius, a 17-year-old vocational school student from Finland, that’s how it feels like to be a cast member in the most popular musical in the world. Wallenius works as an extra in Åbo Svenska Teater’s acclaimed production of Les Misérables. In exception of the child actors, he is the youngest person working in the production.                     
Working in Les Mis has been, to put it mildly, an amazing experience for Wallenius – even though he could hardly be called an expert on the subject when he started.
         “Les Misérables was my first time working in a theatre, and also my first real job! I didn't really know much about it beforehand. I had heard some of the music, but, amusingly, everything I knew about the story at the time was from a Donald Duck comic.
         Right from the first time I saw and heard Les Mis, I loved it. Getting the job felt really good because it was my first, but after watching the show for the first time I knew I was going to be a part of something great, something that was going to be successful. I felt, even back then, like I had been blessed by someone higher above.”

How did a 17-year-old with no theatrical experience become a part of a professional musical production?
         “I was playing video games one night when my father walked into the room with a newspaper, saying ÅST was looking for extras for this show called ‘Les Misérables’. He thought I would be interested. I took a look and said ‘maybe’, though that's usually what I say if I mean ‘yes’. So I sent an e-mail to the theatre.
         When I got to the theatre for an interview there was one other guy waiting outside. Another guy turned up after we had walked in – it didn't really feel like people were lining up for this. We met Georg Malvius, the director of the production, and he asked us some questions: experience in acting and singing, how often we were available, what we knew about Les Mis…
         Some days later about a dozen would-be extras gathered to watch the show so we would get an idea about it. I think if we still wanted to have the job after seeing the show, and weren't absolutely incompetent in the training, we got it.
         After a couple of weeks of rehearsals I met Malvius on the way home. We talked a little as we walked: he told me I had done a good job and asked me if I wanted to be one of the extras who would be on in almost every performance. I accepted this without hesitation. It felt great! Getting the job was one thing, but being told by the director that I did a good job and was signed up to do all shows was just priceless.”

Wallenius signed up to be one of the ‘standard four’ as they called it: one of the four extras who were on in every performance while the others took turns. He did three or four shows per week.
         “I didn't have as many onstage appearances as I had hoped for; there were only six of them. That includes a guard in the intro, a priest taking the beds in and out in Fantine's Death, a soldier attacking the barricade and a farmer in Epilogue.
         I had a couple more things to do, but they’re behind the stage and no one sees them. I didn't have any speaking lines, the only official time I open my mouth is in Epilogue. I did, however, scream a lot in The Runaway Cart from offstage.”

In this production, during the second act, the audience sees the both sides of the barricade: the revolutionaries die, but so do the French soldiers on the other side of the stage. Wallenius plays one of the soldiers.
         “Haha, the crown jewel of my career! I'm glad that Malvius took a different approach in the war scenes, otherwise I wouldn't have done anything for two thirds of the show!”
         Does it get boring to play a dead guy?
         “It doesn't, really. I sometimes had one eye open. My hat and the darkness assured that no one could see it, and from my position I could see almost the entire stage. I knew what was going on the entire time. There was something different every day that kept me from getting bored most of the time.”
         But trying to look dead is very difficult sometimes, if not always.
         “When Gavroche was in the area you were never safe! The three Gavroches we had got shot very differently. One fell by my feet, sometimes on them, sometimes just touching my boots. The second fell right on me. He kneeled beside me and dropped like a cannon ball, usually on my belly or chest… but sometimes he hit some of my softer parts down below, ouch. The third, however, didn't fall to the ground; he kept standing even after being shot twice.”
         And the hardships of playing a corpse don’t end there…
         “After Christmas Joachim Thibblin was often gone, so Markus Virta was the stand-in as Thénardier. He was good at the role, but there was something else... When he was in the sewers and took my watch as loot while singing, he sat right on top of me in a rather suggestive way. If anyone had said that it looked like we were doing something... specific, I wouldn't really have been able to deny it. Also, both Thibblin and Virta usually spat on me while singing. Especially Markus, it was almost raining. And Joachim slapped me every now and then, come to think of it.
         So… If you you're good with sitting about twenty minutes on the ground completely still, getting spat on, getting slapped, being a pillow for dying kids, getting carried away and being sexually harassed by singing maniacs twice your age… then you're good to go!
But I was good with all that. It was my job after all.”

Wallenius doesn’t have a bad word to say about his workmates, though:
         “There were so many wonderful people working along with us who always kept the spirit up for the rest! But almost all of them were overshadowed by our Javert’s, Sören Lillkung’s, pure skill and friendly personality. Never have I met a more open and friendly person. If I had to point out one person who people would look at to get new energy from, it would be him. I’ve learned a lot from him and he was one of the things that gave me inspiration to go on.”

Wallenius is a bit of a lifesaver himself, rescuing one of his co-workers from complete embarrassment. On Saint Lucy's Day the theatre was gathered to celebrate, and Markus Virta granted Wallenius a diploma in which he said:
         “This person has during the autumn worked as an extra in Les Misérables and gotten a complete check on the show. In some cases he has a better check on what the actors are doing then the actors themselves. During one show Rune Sæter [who plays Enjolras] begun changing costume for his last entrée despite having another scene to do. The extra, however, reminded him about the scene and therefore saved Rune's hide.”
         “It does sound a lot more romantic than it really was”, Wallenius adds. ”One day when I was changing to my farmer outfit during Empty Chairs at Empty Tables, I saw Rune coming down the hall. As he walked past me I stopped him and asked a bit sarcastically: ‘Are you supposed to be here?’ He was quiet for a couple of seconds, said ‘Thanks, Valde!’ and went back. I didn't really think much about it, but later learned that it was a bigger deal than I had guessed! Rune told me that he had never forgotten to go to a scene before.”

What does the future have in store for Wallenius?
         “I hope to act in more musicals in the future. I haven't really decided what I want to do later in my life yet, but at the moment I'm planning on that.
         I will play Les Miserables again of course, we’ll perform the show again next autumn. And I would most certainly like to be in Les Mis in the future, too, if I got the chance. Who I would play? Enjolras, maybe. He's a great character and I like his vest. Or I could just be in the ensemble, as Babet or Brujon – those two are badasses. Or Thénardier… But only ÅST's Thénardier, not the drunken clown he is in other Les Mis productions!”

Any last words?
         “I have learned a lot by working together with the wonderful people ÅST gathered to make Georg Malvius’s vision come to reality. I wouldn't trade it for anything in the world! And love to all you Les Misérables fans out there for your support. We’ll be back in the autumn.”

Sunday, May 15, 2011

About Applause

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

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

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

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

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

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

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

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

Cue Les Misérables.

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

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

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

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

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

Thursday, April 21, 2011

Video Spam

I'm usually not one to tolerate video spam. When someone posts more than one, less-than-three-minutes video per day, I'll usually switch to the "too long, didn't watch" set of mind.
But today I'm going to break my own rules and share some of the musical videos I love the best. My reason for this is that I may never find a way to post these in any less annoying way...

First, there's the trailer to the recently closed Finnish RENT.

I'm sharing this even though you can't see the show anymore to get the chance to reminisce the day I went to see the show's closing night a little.
I wrote about the time I saw the opening night at here, and I don't have a huge lot to add. If possible, the show had gotten even finer. Sadly, the audience was not quite as enthusiastic anymore, there was hardly any screaming and no standing ovation. Maybe, one day, I'll be brave enough to start one myself, but currently my inner inhibitions stop me...
Anyway, I think this cast would've had what it takes for many times longer run, and whatever Suomen Musiikkiteatteri Ensemble ry decides to do next, I'll be there to see it.

Now some more Finnish goodness: my favourite Les Misérables cast of all times (more here) performs Än En Dag (One Day More) in Thalia-gaala:

I'm sharing this because, well, they're so awesome (too bad there's audio problems, though. This song definitely needs some Enjolras!).
And because I like talking about myself way too much, I could mention I uploaded the video to YouTube myself. I know Javert would disapprove such blatant breaking the law, but I disagree here. In this case, no one loses, but everybody wins - the theatre gets a free ad, Les Mis fans get more Les Mis videos to watch. It's not like piracy, which I really dislike. Piracy, no matter what everybody says, isn't a win-win situation. The only winner is the one who downloads the song, but everybody involved in making it, including the artists, are the losers.
I'm becoming better and better with these digressions. With a couple of years of practice I'll be on the level of Victor Hugo when it comes to talking about unrelated things.

The third video I'd like to share today is a Les Misérables One Day More flash mob in Warsaw that someone linked to me today in deviantART .

I think this is hilarious - and I'm very much planning to buy the cast recording they're advertising with this!
Casts of musicals everywhere, in every country, please let us see more of this sort of fun!

Stopping here.
I know I should continue the Les Mis album comparison... Let's see if I can make that happen during the Easter holiday!
And even if I don't, I've something to look forwards to (well, other than seeing musicals): I'll be giving a presentation of musical movies in school's movie course. Technically, it's teamwork, but my team has agreed it's better I do all the speaking... I'm afraid 75 minutes isn't enough for me!

Wednesday, April 20, 2011

A Weekend in the Country


I saw A Little Night Music, or Kesäyön hymyilyä in Finnish (translates back into Smiles of a Summer Night), in Turku City Theatre a little over a week ago.
First I want to tell you how much I love they actually gave it a Finnish name! That's not usual - Next to Normal is Next to Normal, Wicked is Wicked, Spring Awakening is Spring Awakening... Even Tanz der Vampire will be Dance of Vampires, not Vampyyrien tanssi!
I understand wanting to keep the original name if the show is really well-known, like Cats or Les Misérables, but I think it's always lovely when shows get Finnish names. As long as they make sense, that is! La Cage aux Folles is way too weird for Finns to pronounce, but I've no idea why it was renamed, equally weirdly, ZAZA! Lainahöyhenissä. "ZAZA!"?
But I digress. In a nutshell, I think this musical has a nice name. Moving on.

I saw A Little Night Music on Broadway last year, with Angela Lansbury and Catherine Zeta-Jones. I don't remember much of that performance, the only image imprinted in my brain seems to include the jerk sitting below me, apparently accompanying her grandma to theatre, sending text messages for the whole first act. Besides that, I remember being so jet lagged it was hard to stay awake, and also didn't understand half of the lyrics - that's Sondheim for a non-native English speaker...
However, I remember liking the music and later bought the CD, which I love. So, I went to the theatre thinking quite positively but still a little alarmed - you can never be sure if a show you like will be done in a way you hope it would...

Luckily this version surpassed my expectations!


As usual, I went to the theatre with my friend Sara, and, as usual, we were the youngest people present. Granted, A Little Night Music is not exactly a show many teenagers would find thrilling, but thanks to the Senior Citizens' Club of Loimaa, the auditorium was even older than usually...
It took the senior citizens a tiny while to get into the show - "Now/Later/Soon" got the lamest applause - but I think they started to enjoy it after a while (at least they were happier than The Senior Teacher's Club of Kouvola who saw Rebecca with me and later commented it "should've been two to three hours shorter").
Only one theatre behaviour tip to the lovely people in the audience: even if the show starts with a quite unconventional a cappella overture, it's still the time to shut up when the lights fade!

Finally, to the actual review.
Briefly, I thought it was a beautiful production - very much like watching a good period movie onstage. I liked it a lot.

Maybe I could get over with any nitpicks I have first.
Firstly, I do wish productions would stop putting in unnecessary comic reliefs. You know the guy who hangs in the background in growd scenes doing something silly, being drunk, faltering? I've seen variations of that guy in many shows, and I wish they'd get rid of him. It feels like talking down to an audience, telling us to laugh at simple jokes, and, at least in A Little Night Music's case it's also distracting. The show has lots of witty humor on its own, you don't need to add any slapstick.
Also, I've no idea why they chose to put Frederik sing "Now" in a bathtub. It was odd because his sleeping in it seemed really unconfortable, and some chunks of bubble foam also splashed onstage and stayed there for the better half of the first act. Annoying.
Finally, I don't like how they cut one verse from "The Miller's Son." It's my second favourite song of the musical! Luckily, it was the only thing they cut, so it can easily be forgiven.

See the unnecessary comic reliefs wobbling awkwardly in the background?

Now, to my favourite part - the especially good stuff!

First, the translation was pure goodness.
Usually Finnish translations are a bit tired. Wicked was, to put it bluntly, bad, as was West Side Story. Chicago wasn't good either. Spring Awakening and Next to Normal were just what I said - tired. It seems only a couple of people translate shows here, and you can hear it's sadly becoming a routine for them.
Not the case with this. A Little Night Music, with Stephen Sondheim's lyrics, probably isn't the easiest musical to translate. But this translation, by Juice Leskinen, hit the nail on the head. Sadly Leskinen can't give us more beautiful musical translations, since he passed away several years ago, but luckily he had the time to do this and also Sweeney Todd. I wish they'd given him Songheim's whole works, I believe he'd had the talent for them!
My only reproach would be leaving "liaisons" be "liaisons" - I doubt many Finns know the meaning of the French word.

The first act, at least according to my friend Sara, "was soooo boring". I don't quite share her opinion, I for example think "A Weekend in the Country" (one of my favourite musical ensemble numbers!) sounded pretty much as good as it can get. But I have to admit the very beginning, with a quite weird a cappella thing before the actual overture begun, took a while to get going, and the second act made me laugh a lot more.

Actually, the second half of the show had some fine moments of pure hilarity.
Some little things I remember include them turning "just the glow of my cigar" into a sexual innuedo, and in a funny way. The comedy continued with the actors taking the most out of their roles: making Henrik (Jukka Nylund) shout out loud at a lake in frustration was a stroke of genius, I think!
Fredrik's (Arne Nylander) and Carl-Magnus's (Mikko Vihma) interaction comes to mind too. Nylander is a really tall man and Vihma's slimmer and smaller. In the second act, when they got into a fight... I almost suffocated seeing the smaller man dangling from his rival, who hardly aknowledges the fact there's an angry dragoon clutching him. I know I just said slapstick's a no-no - but this was so relevant to the plot and so hilariously done I couldn't stop laughing! Not to mention Vihma's "In Praise of Women" - he was just as arrogant and amusing as you could wish.

 Allow me to illustrate.

I could also mention that I liked Kirsi Tarvainen as Desirée a lot. I like the role of Desirée because it gives women with interesting, unusual, beautiful voices the change to sing. There aren't that many big musical roles for deep altos like Tarvainen has, but I loved hearing her in this!
All in all, there wasn't a weak link in the cast. And what made it even more interesting to me, the Liebeslieder Quintet featured another of Finland's two ex-Enjolrati...

The sets looked simply lovely, and the stage directions were, mostly, successful.
The Broadway version was pretty minimalistic, but this one had a little more details and settings. Something happened in the background nearly all the time, but not in a distracting way (well, not counting the comic reliefs here). For example, during "The Glamorous Life" there was a snowstorm in the background, subtly underlining the fact that Desirée's life may not be so glamorous after all. During "Liaisons" there were some slow-motion-like beekeepers in their hats and overalls, spraying theatre smoke onstage - it had nothing to do with the song, actually, but it looked really beautiful and mysterious, almost magical. I thought it was also very clever how "Remember" was sung by the troupe of actors, relaxing backstage and recounting their own memories that happen to collide with those of our main characters...
And the fake lake in the second act... I think it's one of the most beautiful sets I've ever seen. With the sun mirroring from the water it's the epitome of a Nordic summer night when sun never sets.

Finally, I think it was beautiful how they left the ending open to interpretation. 
Did Madame Armfeldt die? We don't know. Fredrika pushed her wheelchair to the waterfront and the sun set - but we can't know for sure if it was her time to go or not. I think that's a good way to do it. Having a character die in the last minute of a show doesn't really lift the audience's spirits. In my opinion it may be better to let us leave the theatre with romantic violins playing in our heads, believing that everybody, after all, lived happily ever after...


In a nutshell, despite its little flaws, I think Turku City Theatre's Kesäyön hymyilyä is a thoroughly enjoyable production of A Little Night Music.
I'm afraid many people will think like my friend Sara does: all the songs sound the same and the plot is a confusing mess between comedy and drama. But I'm sure Sondheim fans will love this production, and would recommend it to everyone - you can't help enjoying the gorgeous visuals at the very least!

Here's a short but lovely ad for the show:



Photos from Turun Kaupunginteatteri's website.