Book Versus Musical

This is a companion article to my previous rant about the importance of actors' looks in musical. I swear this applies to other shows than Les Mis. It's just, again, the easiest example for me to use.

I've been thinking about musicals based on something for quite a while. When you've doing a show that's based on a book or a movie, how much do you owe to the original? I discussed the looks of the characters already, but how about the personalities? Should your characters act like the original author wrote them, or do you, as a director or an actor, have the right to twist them to suit what you think serves the musical the best? Can you come up with your own backstory and ignore the source material?

Let's talk about Enjolras.

You know the guy.

I think Enjolras is one of the best exaples for this. Sometimes it's almost impossible to make the character in the musical to match the character in the source material (case in point: Wicked the musical vs. Wicked the book). But when it comes to Enjolras... There's room for interpretation since there's hardly anything about him in the stage show. We know he leads a revolution, we know he doesn't much care about Marius's lonely soul, and that's about it. The details in between can be done in a multitude of ways. You can take your inspiration from the book or come up with your own version.

There seems to be something of a consensus in the Les Misérables fandom that, when it comes to Enjolrati, David Thaxton is the best. It's been said over and over again how his Enjolras was as close to the guy from the book as possible. Personally, I can't comment – though I saw Thaxton live, I don't remember him, and I'm afraid I don't care quite enough to find out what he was like to watch any shaky bootleg. But I guess I'm lucky the first Enjolras I saw onstage was so well-liked, even though I can't remember details anymore.

Thaxton is by no means the only popular one, each Enjy has his fans. Some judge Enjolrati by qualities like voice and stage presence. But there's also always criticism based on a performance clashing with the book. Ramin Karimloo crossing himself in the 25th Ann. Concert, for example? Heresy! Even though majority of Les Mis fans are open for all sorts of interpretations, there are the people who prefer the stage actors to draw their inspiration from the book only.

An example of Enjolras

I'm not saying wanting to see the book onstage is a bad thing, not at all. But here's something I've been thinking about: how about if someone sees an Enjolras (especially from this point on, feel free to replace the word Enjolras with any musical character that's based on, well, something) that's nothing like the character in the book – and loves the interpretation? What if, to them, Enjolras is the guy they saw onstage and they don't care what the book says? Is their love for the character any less valid if the performance they love deviates from whatever is the source material?

There are two schools of thought when it comes to this, I guess. One would say that the guy giving the non-book-accurate performance should be locked away, since he's making new fans believe Enjolras is something he really isn't. The other would go meh, who cares, to each their own.

Personally, I think that's the beauty of theatre, in a way. On one hand, you have the same characters in each production of the same show. On the other, you get to see a different side of the character each time. Even though it's fantastic to see someone who acts like they leaped straight out of a classic piece of literature, would that be so special if every single performance was like that? And how about if someone can bring something to a role that's not in the book but enriches the musical?

I usually use book-accurate as a positive expression whenever reviewing shows. That's because I think it shows something: the actor cared enough about their role to research it thoroughly. That's not to say I can't love a performance by someone who hasn't read the book or doesn't show it. It just means I tend to respect those who decide to take the extra trouble a little bit more.

Another example of Enjolras

But still, when it comes to the person who loved the non-book-accurate performance – in a way, I think they're richer than a person who has only seen a performance that matches the source material (or a performance that's practically identical to some other actor's, for that matter). Maybe they can check out the source material for themselves and find out about the so-called original version. Then they already know two takes of the same thing. Maybe the different take helps them to understand the original version better, or maybe seeing the original enforces their love for the different?

Back to Enjolras. This all is not to say I enjoy all sorts of Enjolrati personally. (I'm not that fond of the angry ones.) It's not to say anyone should. It's not to say, even, that I have never used the phrase "but you can't like that, it's not book-accurate!"... But nowadays, I think matching the source material isn't the only route to a good performance. Knowing it inside out and showing that in one's performance is a nice easter egg for the fans – but I think the most important thing for a performance is to make sense in the musical's universe. It may result to lovely ah! It can also be done like that! moments. It might even result making the character more interesting.

We're back to the replica musical argument again, so I better shut up before I sound too much like a broken record. As a partially unrelated finale, let's have a minute's silence for all those long-running shows where the new cast members are still required to copy the exact hand movements of the original cast.

Photos by Robert Seger or scanned from programmes.
Other similar rants: non-replica productions, looks.
Book Enjy wouldn't wear the vest.

Looks Versus Personality

This won't be exclusively about Les Mis, I promise. It's just the easiest example.

While counting days to the premiere, and again now when the Les Misérables movie has premiered in most countries (but not all, so shhh, don't spoil us still waiting), a certain theme has popped up in fan discussions.

"Cosette can't be a blonde because the book says so!"
"Javert must have sideburns because the book says so!"
"Fantine isn't a brunette because the book says so!"

To some people, Victor Hugo's descriptions of the characters are of utmost importance – so these arguments appear no matter which production the discussion is about. After the 25th Anniversary Concert, there were complaints that ranged from casting a person of the wrong skin colour as Javert to dying Ramin Karimloo's hair blonde because the book says so!! I wasn't yet old enough to discuss Les Mis at the time of the 10th Anniversary Concert, but I wouldn't be surprised to hear people argued about the importance of having a blonde Enjolras back then, too.

A Javert I like

This can be a problem with other book-based musicals, too, but I think Les Mis is the best example. The other really famous book-based show is of course Phantom of the Opera – but it's obvious you can't remove the Phantom's nose onstage, so you'll accept that the visuals differ from the book. In Les Mis, then, nothing but the designer's vision is stopping them giving sideburns to all Javerts. I guess it's easier to complain about that.

Personally, I have difficulty seeing why a character's looks meeting the book equivalent is so important to some. Let Javert have a beard like Santa Claus if he can act the part! My opinion about character looks is the same as my opinion about non-replica productions: the more different versions the merrier! But I don't mean to say I never get distracted by an actor's looks. This is usually when it comes to age. When I see a way too old or young person cast in some part, I have to suspend my disbelief more than when encountered with a brunette Fantine.

It's easier to make someone look older via theatre magic, so I don't think casting too young people is a really big problem. Sometimes it might be a bit silly. If you have for example a very young Valjean or Javert it might look a bit comical, like boys dressing up in grownup clothes. But it's still less notable than casting people who are too old. Too bad it seems the latter happens around here a bit more often...

A Cosette I like

Usually, I can suspend my disbelief, but it gets harder when the cast's ages clearly clash. Here, I have to use Samuel Harjanne and Tomi Metsäketo as Enjolras and Marius, in the Åbo Svenska Teater and upcoming Tampereen Teatteri productions, as an example. On their own, you can imagine the both playing the parts. Sure, Metsäketo is getting a bit too old for Marius, but you can ignore that. But when you see them onstage together, boom. Suddenly you notice that there's a notable age gap, that they don't seem members of the same group. I think wrong ages are less distracting if everyone in the cast, or at least the roles who interact the most with each other, are casted in a similar manner: everyone's either too young or too old or, preferably, the correct age. However, things like this aren't enough to stop me enjoying any show. They might be jarring, but I've never hated a production because the cast is the wrong age.

And overall, I try my best to ignore the ages. I guess acting is a rather cruel profession since there are so many things you can't change that can stop you getting a part – vocal range, age, even your looks... So if everything else but the age is perfect, if someone knows how to perform the part, I'll certainly rather watch them than someone who's lacking in the acting or singing departments. I could name a dozen performances where I initially thought that wow, they look completely wrong for this, but ended up applausing until my hands hurt.

Not to mention that sometimes it's good to have your pre-existing expectations twisted. Take Tanz der Vampire's Herbert, for example. Before the Finnish production, fans were used to a fairy-like Prince Charming reincarnated as a vampire. We all remember what Seinäjoen kaupunginteatteri gave us.

A Herbert I like, with his lunch

There are people, especially international fans, who had really strong opinions about this. There was some discussion even in this blog's comments. Some fans just weren't able to wrap their heads around this tall, robust guy as Herbert. However, it seems most people who actually saw the Seinäjoki production absolutely loved Jouko Enkelnotko in the role. Some think the chance in the looks made the character even better than the previous versions had been. To think that if hardcore fans had been in charge of the casting, this well-loved performance might not have happened!

So, in the light of this all... Even if it's sometimes jarring, I'm glad looks are sometimes ignored while casting musicals, or people who you initially couldn't imagine in the role looks-wise are chosen. Looks are of course a big part of each character, but if you stick to them too much, you might miss some unexpectedly awesome performances and interesting changes. I guess that's worth having to suspend your disbelief sometimes.

And when it comes to the brunette versus blonde Cosette or whoever thing... If someone's able to explain it to me in the comments how exactly changing the hair colour destroys the character Victor Hugo originally envisioned, or the performance in the musical, go for it. I'm all ears.

Photos by Malin Arnesson, Nana Simelius and Ari Ijäs. 

Two Short Reviews: Violins and Electroshocks

I've seen a handful of shows lately. So, instead of a huge rant about each, it's time for a combination post of short reviews again: Viulunsoittaja katolla / Fiddler on the Roof in Helsingin kaupunginteatteri and Next to Normal in Tampereen Työväen Teatteri.


Viulunsoittaja katolla / Fiddler on the Roof, Helsingin kaupunginteatteri

Riitta Havukainen as Golde, Esko Roine as Tevje.

I swore I wouldn't see this show. My excuse: a friend invited me... And I admit, I was curious about Fiddler. The whole world seems to love it, so maybe there's something to like, even for me?

Indeed, let's start with the good things. I enjoyed Esko Roine as Tevje. Fiddler, to me, seems like a show that will fall flat on its face if the actor playing Tevje isn't up to the task. Luckily, Roine was. His Tevje felt real to me. The problems he faced seemed like something that could've once happened in someone's real life. He wasn't a hero, he made some dubious choices – like a real human being.

I also quite liked the supporting cast. There were some actors whose performances grated on me, but as a whole, the cast did a good job. A special nod to Tuukka Leppänen as Perchik. I felt a tad more awake whenever he was onstage.

Everyone knows Fiddler's music, and it was pretty nice hearing it live. It is rather catchy (read: enjoy listening to If I Were a Rich Man play in your head for the rest of your earthly life).

Then the bad. I think the show was bo-ring. Nothing seemed to happen. I was ready for the intermission about seven times during the first half. The piece also suffered from mood swings: upsetting moments and cheap laughs followed each other with no break in between. Also, the ending felt completely empty to me. Were the villagers even upset?

What's more, the characters, apart from Tevje, were paper-thin. It's more to do with the script than the actors, but it's a problem nevertheless. Tevje's daughters didn't seem to have any defining characteristics. Two out of three suitors had some character, but then there was the last one. It baffled me how one of the daughters made a huge sacrifice for a man who is given three minutes onstage.

While the sets, costumes and choreography served their purpose, I don't think there was anything new or creative in them, nor in Hans Berndtsson's direction as a whole. See how much has changed, visually, since the 60s.

I stand behind what I've said previously: I think Fiddler is a safe and boring choice, perfect for summer outdoor theatres, and I'm disappointed HKT did it. I sure could've lived without this production. However, if a rehash of a fifty-year-old show brings in this enthusiastic audiences (I've never heard people applausing dialogue scenes in a musical before)... I guess the theatre must be happy with their pick.

Raili Raitala as Hodel, Tuukka Leppänen
– as you can recognise from his face – as Perchik.

Next to Normal, Tampereen Työväen Teatteri

Eriikka Väliahde as Diana.

Last time I wrote about Next to Normal, I listed what's wrong with the show. While I came to the conclusion that I might want to see Next again, I soon noticed I didn't actually agree with my own opinion. The mere thought of seeing the show one more time started making me annoyed, for all the reasons listed in the previous review: the black-and-white view of treating mental illnesses, the weak second act, the show forcing its opinions down the audience's throat... I felt that no, I've officially stopped liking this thing, too bad I still have a ticket for the Tampereen Työväen Teatteri version.

Not so bad after all! I left TTT as a N2N fan again. I've now seen three versions of Next to Normal, and TTT's is the best out of them. 

The story has never felt this real to me. I completely forgot about its problems watching this. It's a shame TTT didn't change the family's name to something Finnish, like Wasa Teater did, I think that would've made the show hit even closer to home... But I loved the changes they did make. Most notably, they changed the song Better Than Before into dialogue. The slightly witty tune turned into a proper, much-needed but not out-of-place comic relief. The audience was actually laughing. Overall, TTT managed to turn the dragging second act into something interesting. Tuomas Parkkinen's direction had a couple of moments I could've done without, but as a whole, the show had a nice flow going on.

What's more, two thumbs up for Kristiina Saha's sets! It was refreshing to see them take a different turn from the usual cold and angular Next sets. I especially liked Natalie's cage-like little own space.

The cast (Eriikka Väliahde, Puntti Valtonen, Jukka Nylund, Emmi Kaislakari, Juha-Matti Koskela, Toni Harjajärvi) impressed too. When I saw the Wasa Teater production, I wrote they had managed to make my usual least favourite character Natalie compelling – here, I could almost call her my favourite. Kaislakari made her character alive in a way I could, if not relate to, at least understand. Not to say Natalie's family was any worse. Touching and real are words I could describe both Väliahde's Diana and Valtonen's Dan with. The latter's voice didn't seem suited for the part and therefore didn't really hold a candle to other Dans I've seen (greetings to Sören Lillkung), but that hardly mattered, I liked the overall performance nevertheless.

TTT's Next to Normal has four performances left. I recommend it for everyone.

The neat-o set. And the cast!

Photos by Tapio Vanhatalo and Petri Kovalainen.

Making Theatre Magic

A little background: in Finland, the theatres are rather different from the standard Broadway/West End theatre. Instead of concentrating on one show at a time, Finnish theatres can have a dozen of plays in their repertoire at the same time. Theatres also usually have multiple stages, so same theatre can have many performances on the same night. I got a chance to take a little tour at Tampereen Työväen Teatteri, in the Finnish city of Tampere, so here's a peek into the backstage world of a Finnish theatre. Originally written for school.

Tampereen Työväen Teatteri looks calm during the day. The lights are off, and the doors won't be opened for the public for many hours. Inside the theatre, however, things are looking busy. During the day, the upcoming productions are being transformed from imagination to reality.

"It's impossible to learn these by heart!"

Tampereen Työväen Teatteri, December 5th, 10AM. It has just been announced in the central radio that Carmen's [a drama version, not the opera] rehearsals will start in a minute. The actors gather around the main stage of the theatre. Chatting, leafing through the scripts, joking – I even hear someone worry about memorizing their lines.

The play will premiere in February, and the whole theatre is preparing for it. Among other things. There are multiple productions under construction inside the theatre.


Sets for Tampere – and the United States

Marianne Rautiainen's handiwork can
soon be admired in Washington, D.C.

While the actors are familiarising themselves with Carmen's dialogue, stagehands are moving big towers covered with plywood onstage.

Besides Carmen, the theatre's set workshop, which is one of the largest of its kind in Finland, is working on several other upcoming pieces. One of them is a play called Lämminveriset. The play premiered two years ago, and it's been a while since the last performance in TTT, too. However, the piece is now changing continents: it will be performed in Washington, D.C., as a part of the Nordic Cool festival, next year.

Marianne Rautiainen, who works in the set workshop, curses the size of the Lämminveriset sets. Kennedy Center in Washington, D.C. has a smaller stage than TTT, so the sets have to be changed to fit. First, the plan was to send five containers of sets to the US. Now the number has been reduced to three. However, there's still work to do, both with the sets that are going abroad and the ones that are staying in Tampere.

All sets begin as small scale models. The set designer plans the model, based on the script and discussions with the director. Then the set workshop's carpenters, metal workers and surface finishing workers will build full-scale versions of the elements in the model.

Tiina Vanhapelto working on a jug made to be broken.

"A well-done set helps the actor to act and the audience to see", says set designer Hannu Lindholm, who has been working in the profession for 45 years.

The plays, of course, need more than just sets. There are also the props, the items used onstage, and they're the handiwork of a different workshop

"You have to learn to apply your skills to new situations", Tiina Vanhapelto, a substitute worker in the props workshop, says about her job.

The prop workshop can be asked to do just everything, from sails for a boat to taxidermy animal heads. The workers need a vast knowledge of arts and crafts. 


Looks shape a character

Creating costumes. In front, Kaija Koljonen, behind
her Heli Tapper, Päivi Hatanpää ja Sini Paronen.

Carmen's rehearsals keep going on the big scene. They're working on a scene for three actors, so one of the artists waiting for their turn takes the chance to visit the costume workshop for a fitting. Looks are an important part of all characters, and in TTT, it's of course professionals who take care of them.


Like sets, costumes are based on a draft. Instead of a scale model, though, the costume designer draws a picture of their vision. The costume workshop, then, creates the costumes based on the sketches. The style and the materials of the finished costume reflect the original drawing. The workshop also adds little theatre tricks to the clothing: they sew different pieces of clothing together and add hidden zippers, so the costumes can be changed in seconds during the show.

A character's hair has to look right, too. For that task, the theatre has its own hair salon, where the hairdos and wigs are born. During the day, the salon takes care of the hairdos of the actors who use their own hair onstage. Hair is a part of the character's design, just like costumes, even when it's the actor's own instead of a wig.

"An actor can't always decide whether they look good or not", actor Heidi Kiviharju says.

Emmi Lahtinen (in front) and Tiina Ryynänen take care of actors' hair.
In salon chairs, Heidi Kiviharju and Teija Auvinen.

There can be up to three performances on the same night on different stages at TTT. So, the evenings can be quite a hassle. Therefore, the hair and make-up salon only helps with the most complicated hairdos and masks during the performances. Before the show and during it the actors mostly take care of their own looks.

The rehearsal goes on

"Dear lord, I felt so frightened!"

One of the high plywood-covered towers used for Carmen's rehearsals has just almost toppled over. The next time, the stagehands keep the tower standing – but unfortunately, it starts moving downstage too late. Luckily, there's still time before the premiere. In February, the lines will be memorized, and it's not too likely the sets will topple over in front of a live audience.

When I leave the theatre, winter sun is shining, but the windows of TTT's foyer stay dark. The audience won't arrive in hours. Inside, however, the preparations for the night's performances and the upcoming productions continue on full speed.

Sama suomeksi.

Phenomenon: Les Mis?

So, Tampereen Teatteri will do Les Misérables in 2013, premiering on September 13th and 14th. The cast and details were released today. Let's take a look:

Jean Valjean: Tero Harjunniemi / Petja Lähde
Javert: Sören Lillkung
Fantine: Ele Millistfer
Cosette: Sarah Nedergård
Marius: Tomi Metsäketo
Éponine: Saara Lehtonen / Pia Piltz
Thénardier: Ville Majamaa
Madame Thénardier: Ritva Jalonen
Enjolras: Samuel Harjanne / Lauri Liiv

Director: Georg Malvius
Sets and costumes: Ellen Cairns
Choreography: Igor Barberic
Lights: Palle Palmé

Finnish translation: Jukka Virtanen

Cast with director and conductors

There's no need to go deep into what I think about the crew or the translation. I've already mentioned that here, here and here. (A select quote: "Nothing will stop my disappointment if the hideous translation is not fixed." Well. Yeah.) 

TT's version will truely be something of an ÅST replica. In short, I think Åbo Svenska Teater's Les Mis was practically perfect, but I would still have liked to see a new vision. Too bad for me. They said the new show will be "based on" the ÅST production and mentioned how much easier it was getting the rights from producer Cameron Mackintosh when they had a pre-existing concept. Sure, director Georg Malvius said the new actors will take their roles to new directions, and it was mentioned the show must be changed to fit to a stage different from ÅST's. But still. Anyway, you know what I think, I've talked about this in my speculations already.

Let's move on.

Today, in the press release event, theatre manager Reino Bragge mentioned something that caught my attention. He said local cinemas and Tampereen Teatteri will work together, what with the upcoming movie and this production, to bring "the Les Mis phenomenon" to Tampere.

ÅST alumni returns: Tomi Metsäketo and Samuel Harjanne

The Les Mis phenomenon?

From what I gather from today's info event, Tampereen Teatteri is trying to replicate a phenomenon indeed. Not a Les Mis related one, necessarily, but the one that's going on in Helsinki and goes by the name of Kristina från Duvemåla. Does the following sound familiar: five shows per week, pricier-than-usual tickets, subtitles in English, based on a former, popular production...

It seems to me Tampereen Teatteri is preparing for a success. They trust their show enough to rise prices above the ÅST levels. English subtitles seem like a clear sign they're trying to attract audiences even from outside of Finland.

But is Les Mis enough to draw in audiences from all over? I'm not sure. The theatre seems to have some pretty nice discounts for students (Hevijuuseri-kortti), so if they're compatible with Les Mis, it's likely I'll end up seeing it more than once. [Edited to add: of course the discount isn't compatible. That's student friendly policy for you!] But surely it's not enough that the Finnish Les Mis fandom (size approx. ten people) visits TT again and again.

Newcomers: Tero Harjunniemi and Petja Lähde will alternate in the main role

Let's remember the Les Misérables Åbo Svenska Teater staged that closed less than a year ago. It was the most popular show in the theatre's 170-year-long history. It's a small country, Finland, so a record like that isn't set with only Fennoswedish audiences. I suppose many people from all over Finland, probably also from Sweden, saw the show in Turku. Did they like what they saw enough to return for the exact same thing next year?

And with the upcoming movie and productions popping up all over Europe, I wonder if the English subtitles will have many users. How many travel to Tampere during the winter, anyway? Les Mis is not like Kristina in this respect. Les Mis has been done everywhere. Kristina, then, has been done only in Sweden before, and it's been a while since. Yet it's a national treasure to Swedes, and means a lot to many people with Swedish heritage all over the globe. Over a million people saw the show while it was performed in Sweden. What with ferries from Stockholm stopping at Helsinki every morning and night... Somehow, it's easy to see why Svenska Teatern's auditorium has been so full lately.

Javert and the conductor: it's Sören Lillkung's 3rd and Jussi Vahvaselkä's 2nd Les Mis

But Tampere? TT's Les Mis cast has some Estonian actors. Are there Estonians who are curious enough to travel to Finland for them? How about people from other countries? Every Nordic country has had their own version of Les Mis in the past few years. In 2014, Malvius will stage his vision for the 5th time, that time in Denmark. The original in London is going strong for the 27th year. Sure, some travel all around for their favourite shows. Personally, I love seeing and hearing musicals in foreign languages and have travelled for them. But how many think like me?

Then there's the upcoming movie. Soon, everyone will have Les Mis in their home town. It might encourage people to see the stage show. But it also rises the bar pretty high for TT, supposing the movie'll be good. I had a short chat with Tero Harjunniemi, who will play Valjean in TT. He said he's not scared of the movie setting expectations because theatre is such a different medium. True that – but wonder if the audience will still go in expecting to see a performance to match Hugh Jackman's instead of a Finnish actor's own vision? Anyway, I'm glad TT will at least replicate a stage show instead of trying to bring the movie onstage!

Cosette and the director: Sarah Nedergård and Georg Malvius

Conclusion?

Personally, I would've preferred to see a different director and an all-new cast. But, if they had to replicate something and bring back some actors, I guess these were the best choices (and to be fully honest: in a way, it warms my heart to no end to see at least some of the ÅST cast I loved so so so so so much returning, even though I keep saying I'm all for new people in the roles. A small part of me keeps screaming about returning home and reliving the magic). TT's Les Mis will be unoriginal, but I feel it will also be good, just like it's predecessor. The translation notwithstanding... Theatre manager Bragge claimed some bits may still be fixed before the premiere. Can't but hope and pray, and on the meanwhile learn to not understand the Finnish language and only enjoy the voices.

But will TT's Les Misérables be interesting enough to bring "the Les Mis phenomenon" to Tampere? Time will tell, but I can't help feeling a bit sceptical.

Photos by Harri Hinkka and Muplakuovi.
Listen to Sören Lillkung sing Stars in Finnish.

Interview: Samuel Harjanne

It’s morning, I wake up in Vaasa, and I’m supposed to be doing an interview in a couple of hours. First, though, I open my e-mail. There’s a new message: “Could the interview be postponed by a couple of hours? Our matinee was cancelled, I could sleep for a while longer.” Well, that answers the first question in my mind. Samuel Harjanne does sleep – at least sometimes.

Striking 12, Helsingin kaupunginteatteri 2011.

Åbo Svenska Teater, Helsingin kaupunginteatteri, directing, winning a musical theatre prize… Samuel Harjanne has been busy lately. At the moment, Harjanne, known for his dubbing and musical roles, is performing in Wasa Teater’s Next to Normal.

“Wasa Teater is nice, but as a town, Vaasa isn’t one of the most interesting ones. I like a bit bigger cities. But you go anywhere for an interesting job. We have a lovely team, and Next to Normal is a good musical.”

24-year-old Harjanne has been performing for soon fifteen years. He’s done lots during his career, from a singing competition for children to directing musicals.

Before musicals, there was opera. Harjanne’s career started in a children’s choir. Via the choir, he got a part in The Magic Flute and ended up singing in Finland’s National Opera. But getting the part of Gavroche in Helsingin kaupunginteatteri’s 1999 production of Les Misérables was a turning point for him.

“After performing in the National Opera, I knew I liked operas a lot. Then Les Misérables auditions happened. I got in – and had a revelation. Theatre can be like this? Classical music is great, but pop and rock speak to me on a completely different level. Ever since, musical theatre has been really important to me.”

Next to Normal, Wasa Teater 2012. With Mikaela Tidermark.

Harjanne has acted in shows like Helsingin kaupunginteatteri’s High School Musicals and Spring Awakening, not to mention his countless Finnish dubbing roles in animated movies. However, during the last year, Harjanne has acted in two Swedish-speaking musicals. Two of the musicals he’s directed have also been, at least partially, in Swedish.

So, it’s surprising to hear Harjanne was not interested in the language at school. Actually, he says he hated it. He’s learned Swedish during the past few years.

In 2009, Harjanne was asked to direct the musical The Wedding Singer, in Swedish. He said that no way, you’ve called the wrong person, I can’t speak Swedish – and agreed to do the project nevertheless. He’d use English.
Around the same time, colleague Sören Lillkung told Harjanne to audition for Les Misérables again, this time in Åbo Svenska Teater. Harjanne was again skeptical, but agreed to try his luck.

”I sung Empty Chairs at Empty Tables and Your Song. Your Song is a pretty long tune, but I got to sing the whole thing… while director Georg Malvius was staring out of the window. I thought that I sucked. But soon, Malvius called me. I got the part of Feuilly and the understudy for Enjolras. The catch was that I should be able to understand the direction in Swedish.”

With two Swedish projects in sight, Harjanne started learning the language. He took lessons and told the fellow cast members to talk to him in Swedish.

“It made me very quiet. I’m usually very social, but I couldn’t keep up with the Swedish conversation.”

However, Harjanne’s language skills developed. After Les Mis, he was asked to do Next to Normal in Vaasa. The theatrical production company Polar Illusions, which Harjanne is the Head of Arts of, has also helped. The company put up a bilingual Finnish/Swedish production of Disney’s Aladdin last summer.

“The Swedish language has jumped into my life, and I’m glad about that. Nowadays I can have discussions in Swedish, and that’s amazing!”

Spring Awakening, Helsingin kaupunginteatteri 2009. With Teemu Mustonen.

When asked about his most embarrassing moment onstage… There isn’t one, really. Harjanne says he doesn’t get embarrassed easily.

“A blooper is a gift, that’s my advice about acting. But well, in Next to Normal once, I said complete nonsense instead of my line. Since I don’t have improvisation skills in Swedish… Luckily, Mikaela Tidermark just kept going. That was difficult. But usually, I don’t get embarrassed. Some people think it’s embarrassing if you stumble onstage. I think it’s just a part of the act.”

Harjanne has acted in one of the most famous musicals based on a book, Les Misérables. Next, he will be tackling an ensemble part in Jekyll & Hyde. Has he read the books the shows are based on?

“I started reading Les Misérables after playing Gavroche, but I never finished it. When I read books, my imagination starts flying… Then I notice ten pages have passed and I don’t know what has happened. It’s annoying. Maybe I’ll read Jekyll and Hyde, though!”

Harjanne thinks musicals and books are very different, so going by the original book isn’t a priority for him.

“When creating a character, I first think how I see the character myself. Then I find out what other people think. The most important thing is how the other characters in the script react to the character. So, I’m not interested in how the character is portrayed in the book. The director’s vision may differ from that. In a worst-case scenario, the facts from the book just mess with you.”

How about favourite roles? Harjanne mentions dubbing the title character of The Adventures of Tintin.

“It was really interesting, such a great role. I read the comics a lot as a kid. I outdid myself so many times while I was acting the part.”

When it comes to onstage parts:

“Enjolras is an interesting role to do. He’s a lot like me, I’m a leader type of a person too. And passionate. But I also liked Spring Awakening, High School Musical… All my roles, actually. Henry, the role I’m doing now, is maybe the least colourful one I’ve done. He’s pretty much only a support to his girlfriend. Then again, he’s the only positive character in the whole show.”

Next to Normal, Wasa Teater 2012. Again with Mikaela Tidermark.

Harjanne has done so many dubs and musicals that one might imagine he never sleeps. He admits that he does lots of work. If he has free time, he spends it by playing badminton, watching movies – and going to the theatre. Traveling is also important to him.

“I leave the country whenever I can. It’s amazing just to relax.”

Next to Normal will close in December. After that, as mentioned, Harjanne will be seen onstage at Turun kaupunginteatteri's production of Jekyll & Hyde. He’s a part of the show's ensemble and understudy for Riku Nieminen, who plays the titular part.

“It’s nice to do an ensemble role again. Many think a main role is better than ensemble, but that’s silly. Without ensemble, the piece doesn’t work. As for the title role, I figure I’m very young for the part. But it’s amazing to study such a huge role at this age. I will learn a lot. I haven’t got time to go to schools right now, so this is the way I learn.”

Polar Illusions will stay an important part of Harjanne’s life. There are lots of plans. For example, they’re working on doing Aladdin in some other country than Finland. Harjanne wouldn’t say no to working in foreign countries in other projects, either.

Jekyll & Hyde, then, will only employ Harjanne for a limited time. The production will go on for a longer time, but Harjanne leaves Turku after the spring’s last performance. He won’t yet reveal what he’s going to do after that.

But the grand plan for the future is clear:

“I know I will work with musical theatre all my life.”


Photos by Ville Akseli Juurikkala and Frank A. Unger. I tried taking my own – and of course messed royally with the camera, ending up with only lots of blur. Boo.
Related: my reviews about Striking 12, Aladdin, WT Next to Normal.
I've also published a version of this interview in Finnish.