Musical Fan Art and Me

A while ago, a friend and fellow blogger Pieta wrote a fascinating text (Finnish only) about musical fan art that really got me thinking. I'm a musical fanartist but I haven't ever really discussed the topic in this blog. Maybe it's about time!

One of my first pieces of musical fanart.
Cats in Lahden kaupunginteatteri. 2008.
Based on the production's poster.

My relationship with art is just like anyone else's who enjoys drawing: I've been drawing as long as I can remember. It's something I cannot not do. Attending art lessons, sketching my favourite movie and anime characters, always drawing in my sketchbook in school...

I have never aspired to become a "real" artist. First and foremost, drawing is a way for me to relax and to have fun. I've always enjoyed drawing fictional characters I like, so once I got into musical theatre, it was only natural I started sketching the characters I saw onstage.

Les Misérables. 2010.

Over my eight years as a musical fan so far, I've created hundreds and hundreds of pieces of musical fanart. Traditional, digital, drawings, paintings, quick sketches, comics, detailed drawings... My fanart archive has it all.

When a musical catches my attention, I enjoy reliving it via fanart. Often, drawings help me to process the experience. Many times, I feel I'm not really done with an interesting show if I haven't drawn a single sketch based on it. It's like the show keeps nagging at my brain until I put it down on paper, as a quick sketch or two at least.

Or as a character lineup. Les Misérables, Åbo Svenska Teater. 2010.

 

Les Misérables, Åbo Svenska Teater. 2012.
Based on a promotional image for the production.

Of course, seeing dozens of shows every year, there is no time to draw something based on all of them. Instead, I tend to focus on one favourite at a time.

For many many years, that number one favourite used to be Les Misérables. Les Mis has everything: period costumes, blood and action, fascinating relationships, serious characters to make fun of. Zombies? Laser? Cats? There are Les Mis drawings in my archives that feature it all.

Last page of a fancomic – Jean Valjean and Javert
enjoying a nice cup of tea. 2011.

The Hero of the Republic – Laser Enjolras. 2013.

Three Enjolrati about to overthrow a government. 2013.
This is one of my personal favourite drawings.

Nasty fandom infighting and finding new favourite shows has made Les Mis take a backseat in my brain for a while. I still return to it every now and then, but for the past two years, I've been especially fascinated by another show – the first Finnish production of Jekyll & Hyde in Turun kaupunginteatteri.

For reasons I cannot really explain (though I have tried), the show hit me like a ton of bricks. It invited me into its world and hasn't let me out ever since. The production's run ended two years ago, so I cannot see the show I fell in love with anymore. But via fanart, I can still travel back to Jekyll and Hyde's London.

Hyde feeling alive. 2014.
Based on Robert Seger's gorgeous photo.

Jekyll, Utterson and Sir Danvers Carew's port wine. 2014.
Another personal favourite.

Edward Hyde. 2015.

Lucy and Utterson. 2016.

Sometimes, it's fun to replicate production photos. But usually, my fanart isn't about repeating what I see onstage.

Whether it's changing character designs (if I think a character should have a new costume – or different hairline, nose or whatever than the actor portraying them onstage – in my drawings, it's within my power to make those changes) or coming up with new scenes for my favourite characters... I'm trying to put my own spin on the show in question, not to make a carbon copy of anything.

Glinda and Elphaba from Wicked. 2013.

Fanart gives me a way to explore the stories and characters further, to portray them in my own way. I suppose many fanfiction writers feel similarly about their texts. I think in many ways, it's the same thing, we just work with different media. We fans cannot alter the musical productions we see nor stage our own, but we can put our own interpretations and feelings on paper.

Fantine. 2013.

This is not to say all of my drawings are deep explorations of something. Some are to capture and share onstage moments that would otherwise be lost forever. And many of them are just for fun. I love making people smile and laugh with my drawings.

Some years ago, I often drew pictures that showed characters from different musicals getting together to have a party. One of my all-time favourite subjects is to show a character doing some silly thing that would never happen onstage. The more serious the character, the better!

A musical pyjama party. 2010.

Enjolras in a hurry. 2014.

And sometimes it's just very relaxing to sketch your favourite characters and forget everything that stresses you out for a while. First and foremost, I draw for myself. For my own amusement and artistic growth.

Some characters simply have a design that's fun to draw.
Judas, Åbo Svenska Teater's Jesus Christ Superstar. 2015.

Or Professor Abronsius.
Helsingin kaupunginteatteri's Tanz der Vampire. 2016.

Even so, it's nice to show others what I have created. I'm sure you've noticed that if you follow any of my social media accounts... Fanart can be a way of sharing an especially inspiring theatrical performance with others.

Father and daughter Carew.
Jyväskylän kaupunginteatteri's Jekyll & Hyde. 2015.

And of course it's nice when my art gets noticed. If I'm feeling especially confident about some sketch, I may tag the theatre or actor who inspired it – and I always feel a little freaked out doing that. I want to show them that they made an impression on me and inspired me to draw, but at the same time... What if they don't like my drawing! A like or a comment from the person tagged can be a nice ego booster.

Some other drawings are, first and foremost, meant for my fellow fans. Sometimes, it's nice turning shared interpretations, fan theories or fandom inside jokes into drawings. Nothing better than making a fellow fan happy, or emotional.

Seinäjoen kaupunginteatteri's Count von Krolock meets
Helsingin kaupunginteatteri's Count von Krolock. 2015. 

But even so, I would keep drawing musical fanart even if my sketches never got any likes. It's such an important way for me to process and relive the musicals I have seen.

Sarah's daydream. Loosely based on Helsingin kaupunginteatteri's
production of Tanz der Vampire. 2016.

It's not possible to draw fanart based on all shows I like. But when it comes to the most memorable experiences, the shows that really touch me, I think I will always keep a sketchpad on hand. It's one of my favourite feelings, a piece of theatre inspiring me to create something of my own.

My latest finished piece of fanart.
Utterson and Jekyll, Turun kaupunginteatteri's Jekyll & Hyde. 2016.

Kurjat

Varoituksen sana: seuraava teksti spoilaa aivan kaiken Victor Hugon Kurjista ja jokaisesta siitä tehdystä sovituksesta. Jos klassikko on yhä lukematta tai näytelmä näkemättä, etene omalla vastuulla. 

Näin esityksen lehdistölipulla.

Jos haluatte keskiverron teatterinkatsojan tarpeisiin vastaavan arvion Kaarina-Teatterin Kurjat-näytelmästä, tässä tulee:

Kaarina-Teatteri tekee hienon tulkinnan Victor Hugon klassikosta. Dramaturgi-ohjaaja Minna-Stiina Saaristo-Vellinki on tiivistänyt kirjanjärkäleestä sulavasti soljuvan, traagisen ja vähän hauskankin näytelmän, joka pitää katsojan hyvin otteessaan kolme- ja puolituntisen kestonsa ajan.

Jos edellisen sijaan haluatte Les Misérables -musikaalin 28 kertaa nähneen, lukuisia Kurjat-sovituksia katselleen, asiaansa seitsemän vuoden ajan uppoutuneen fanin näkökulman aiheeseen, jatkakaa vielä lukemista.

Kaarina-Teatterin Kurjat tekee monta asiaa valtavan hyvin, paremmin kuin uskallan keskimääräiseltä Kurjat-sovitukselta odottaa. Ensimmäinen näytös on kuin suoraan Hugon kirjasta. Näytelmä tuo lavalle lukuja, jotka musikaali ja monet muut versioinnit unohtavat: Fantinen elämän Pariisissa, Fantinen ja rouva Thénardierin ensikohtaamisen, Jean Valjeanin Gorbeaun talossa... Monessa kohtauksessa tuntuu kuin katselisi eloon herännyttä kirjaa.

Käsikirjoitus ja ohjaus eivät jää kurjuuteen makaamaan vaan ripottelevat surun sekaan kevyempiä, hauskoja pieniä hetkiä. Toisinaan vähän isompiakin – Mariuksen ja Cosetten ensikohtaaminen Griegin Aamutunnelman tahtiin glittersateen alla naurattaa täydellisen suloisessa ylilyövyydessään.

Vaikka monet kirjan sivuhahmoista saavat hetkensä parrasvaloissa, Saaristo-Vellinkin sovitus on ennen kaikkea Jean Valjeanin tarina. Pentti Kallio tekee hienoa työtä entisenä rangaistusvankina. Kallio tuo Valjeanin henkisiin kamppailuihin itsensä kanssa maanläheistä realismia. Valjean ei tunnu elämää suuremmalta hahmolta vaan vaikeiden tilanteiden eteen joutuvalta tavalliselta mieheltä.

Merita Seppälän esittämä Fantine on erityisen koskettava hahmo. Fantinen tarina saa kerrankin riittävästi tilaa ja esitetään katsojalle kaikessa kauheudessaan: hahmo kulkee jyrkän alamäen iloisesta, rakastuneesta tytöstä yhteiskunnan pettämäksi, sairaaksi, mieleltään järkkyneeksi naiseksi.

Kari Rantanen ja Niina Laine Thénardierin pariskuntana ovat hyytävä kaksikko. Etenkin herra Thénardierin kylmän rauhallinen laskelmointi tekee vaikutuksen. Musikaalin rasittavankoomisten Thénardierien jälkeen oikeasti paha tulkinta on erityisen kiinnostavaa katsottavaa.

Näytelmän loppupuolella tarinan kiintopiste siirtyy Jean Valjeanista ja ihmisistä tämän ympärillä nuorempiin henkilöhahmoihin. Vaikka toinen näytös tuntuukin alkua kiireisemmältä ja hajanaisemmalta, on vallankumouksellisten puuhia ilo katsella. Vili Hokkasen impulsiivisen Mariuksen ja Johanna Suokkaan raikkaan Cosetten suhde ei jää kaksiulotteiseksi salamarakkaudeksi vaan on oikeasti herttainen. Enjolras'n (Jarno Huhtala) ja Grantairen (Jarmo Suokas) välinen vaikea suhde puolestaan on kirjan lukeneelle herkkua.

Minulle näytelmän kaikista kiehtovin hahmo on kuitenkin komisario Javert. Hannu Pajunen tulkitsee lain nimeen vannovan yhden asian miehen herkullisesti – ja tavalla, jollaista en ikinä uskonut näkeväni.

Kaarina-Teatterin näkemys Javertista tuo näytelmään huumoria ja palauttaa katsojan maan pinnalle. Javert on kaikessa vakavuudessaan, räyhäkkyydessään ja monomaniassaan koominen, ei traaginen hahmo. Kun komisario pitää hänet barrikadilla kohtaavalle Jean Valjeanille melodramaattisen puheen siitä, kuinka saalistajasta on nyt tullut saalis... Kliseiden ääneen sanominen on fanille tervetullut ravistelu, onhan Hugon tarina mahtipontinen ihan hölmöyteen asti. Näytelmä ei sorru musikaalin helmasyntiin eli ottamaan itseään liian vakavasti.

En kuitenkaan kuvitellut koskaan näkeväni aikuisille suunnattua Kurjat-sovitusta, jossa Javert saa elää (tai ei ainakaan kuole yleisön silmien edessä).

Saaristo-Vellinki on tehnyt rohkean valinnan ja kirjoittanut Javertin sivuhenkilöksi. Tällä kertaa Javert on este sankarimme tiellä, ei päähenkilön itsenäisesti toimiva vastavoima. Javert yksinkertaisesti katoaa lavalta päästettyään Valjeanin vapaaksi. Tämä Javert ei voisi riistää itseltään henkeä Jean Valjeanin takia. Hänessä ei ole tarpeeksi syvyyttä siihen.

Ratkaisu on kiehtova ja herättää mielessäni kysymyksiä, joihin kaikkiin en osaa vastata. Mitkä ovat ne elementit, jotka Kurjista voi poistaa niin, että se pysyy yhä Kurjina? Tarvitseeko Jean Valjean kääntöpuolensa? Onko Valjeanin tekemällä valinnalla vapauttaa Javert katsojan näkökulmasta sama merkitys, jos päätös ei enää tuomitsekaan Javertia kuolemaan? Päästääkö ratkaisu katsojan liian helpolla?

Samantapaisia kysymyksiä voidaan esittää näytelmän lopusta. Jean Valjean vie Mariuksen Cosetten luokse, saattaa tyttärensä alttarille ja lähtee tästä maailmasta seuraavaan, kirkkaampaan – ilman kirjan loppua värittäviä väärinkäsityksiä, pelkoa, uhrausta, anteeksiantoa. Jean Valjeanin viimeinen taistelu itseään vastaan jää näkemättä. Loppu tuntuu melkeinpä liian satumaiselta, lähes onnelliselta.

Mutta toisaalta: on virkistävää ja itselleni täysin uutta nähdä Kurjat-sovitus, joka ei nosta Javertia samalle jalustalle Jean Valjeanin kanssa eikä vello tarinan synkkyydessä. Victor Hugon kirjan kaikkia puolia ei mitenkään voi tiivistää kolmeen tuntiin. On hurjan mielenkiintoista nähdä versio, joka valitsee erilaisen näkökulman kuin useimmat muut.

Viihdyin Kaarina-teatterin Kurjia katsoessani paremmin kuin yhdenkään näkemäni Kurjat-elokuvan parissa – ja niitä on vuosien varrella tullut katseltua. Näytelmä on pitkälti uskollinen sekä Hugon teoksen kirjaimelle että hengelle. Teos ei aiheuta minussa musikaalin kaltaisia kylmiä väreitä, mutta se herättää pitkän linjan fanissa sekä iloa että syviä ajatuksia.

Lämmin suositus.

Kuvat: Mika Nurmi

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

Lue sama haastattelu suomeksi.

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

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

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

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

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

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

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

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

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

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

Raili Raitala as Sarah

Something new, something borrowed

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The teeth cause some problems for von Krolock too.

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

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

Count von Krolock has entered the bathroom.

Transylvanian passion

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Vampire fever

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

The actors marvel at some of the fans.

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

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

The actors have a tip for vampire fans.

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

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

The vampires have also caused a stir online.

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

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

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

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

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

Different tastes

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

The actors laugh about the incident.

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

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

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

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

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

Photos by Mirka Kleemola
Also read my Vampyyrien tanssi review!

Nordic Reviews: Jekyll & Hyde

Please note: this review contains spoilers for both Jekyll & Hyde the musical and Det Ny Teater’s production.

Jekyll & Hyde in Det Ny Teater, Copenhagen, is a chilling tale.

Director Daniel Bohr has transported the familiar story of a doctor and his evil alter ego into a Victorian mental asylum, with psychiatric patients acting as the musical's chorus. Luckily, the decision is more than a visual gimmick. The theme of mental illness permeates the whole musical, creating a very unique version of the show. The production invites the audience into a dark universe without much hope, broken people populating the streets of London. It’s a surprisingly serious version of a musical that usually requires more tongue in cheek to function.

The show has a stationary set designed by Paul Farnsworth. The scene resembles an old surgical theatre, with a part of the audience sitting onstage. The effect is nice, but acting-wise, it results in some awkward spinning around as actors try to make sure all audience members can see them. Farnsworth’s visuals are light in colour but unsettling in tone, costumes combining elements from straitjackets to Victorian-era styles and moon shining through broken windows.

Tomas Ambt Kofod as Jekyll and Hyde is a slight disappointment. He has a lovely voice, but the way he portrays the role, part idealistic yet bland young doctor and part Captain Jack Sparrow… The Sparrow-ish antics, energetic movements and intoxicated glee might have been entertaining in some lighter-hearted production that focuses on the show’s campy aspects. In a somber version such as this one, the portrayal feels out of place. Before seeing it, I was afraid the Danish Jekyll & Hyde was going to be completely humourless. Having seen the show, I would’ve preferred no humour at all to the misplaced cheerfulness of Hyde here.

Exploring the theme further, this production would have benefited from a decidedly scary, deranged, dangerous portrayal of Hyde. I enjoy it when Hyde enjoys the murders, and showing him having fun makes sense – but instead of the almost childish delight, this production would have needed darker, disturbing, sensual joy. Apart from Lucy’s murder, Hyde didn’t scare me. With mental patients energetically dancing around him during Alive… The choreography is nice, but being the biggest bully in your mental institution is hardly the most menacing thing you could be.

Camille-Cathrine Rommedahl’s Emma is a fascinating, sorrowful character. Here, Jekyll's fiancée Emma is mentally very fragile. She seems frightened, unbalanced, unstable. With her condition in mind, Sir Danvers’s (Carl Christian Rasmussen) need to protect her makes a lot more sense than usually, as does Jekyll and Emma’s duet Take Me as I Am. Emma has problems with her mental health, Jekyll carries his own baggage with incurable illness running in the family… A Frank Wildhorn love duet given poignant meaning. Would you believe that?

As the show progresses and London turns more dangerous, we see Emma getting more distraught too, with Sir Danvers having to calm her down. Finally, Jekyll’s death is too much for her and she is dragged away screaming. And yet Rommedahl’s portrayal also has its moments of joy and sunshine, moments where you can understand how she caught Jekyll’s attention in the first place. I had no idea Emma could be this fascinating and layered – and I’ve already seen some brilliant takes on the character. A fine, fine portrayal!

Julie Steincke’s Lucy, then, is Emma’s polar opposite, not only in the stereotypical sense of occupation and social standing but also mental-health-wise. This Lucy has a healthy head on her shoulders, a sharp and realistic outlook on life. Steincke makes Lucy feel like a real woman whose only folly is daring to dream at the wrong time. Out of the main characters, Lucy is the only one whose costumes don’t feature allusions to straitjackets. She would have made it out hurt but, ultimately, mentally healthy – had Hyde only been a little slower to arrive. (Her costumes, though… Imagine a caricature of a Romani girl, like Esmeralda in The Hunchback of Notre Dame, sometimes with slightly shorter skirts. What’s up with that?)

Here, it is very easy to see why Lucy dreams of Jekyll. He treats her like a lady from the very first without making a fuss out of it, calling her Miss Harris and offering her wine like any of his usual guests. Small wonder a gentleman like that fills the dreams of a woman who usually faces nothing but abuse. Even my heart fluttered a little! This is also the first production of Jekyll & Hyde I know of where Hyde explicitly confesses to being Jekyll – by taking on Jekyll’s intonation and calling her Miss Harris again – before murdering Lucy. A terrifying moment. If only Hyde could’ve been this frightening all the way through.

Kurt Ravn, who plays Utterson, is a well-known actor in Denmark. Ever since the new production of Jekyll & Hyde was announced last spring, I’ve been amused by Det Ny Teater’s way of advertising him (for example, see this article based on the theatre’s press release, with a silly promotional photo included. How many other Jekyll & Hyde promos are there featuring Utterson? None, I can assure you. I’ve been looking). Kurt Ravn is back on musical stage! As G. J. Utterson, Dr. Jekyll’s level-headed friend. Woo hoo!

I wonder if Ravn’s fans are a little disappointed by this role. He plays the part well, sure, but Utterson’s not exactly the main role of the show. He only sings in two songs… Oh well. The character has a special place in my heart, and I certainly enjoyed Ravn’s interpretation. A calm, easygoing gentleman with unwavering support for his best friend. Ravn is a fair bit older than Ambt Kofod, so the pair’s relationship is like an older brother and his favourite little brother. While the performance is nothing too exciting nor unique, Ravn makes his character very easy to like. I also wonder if I’ve ever heard Utterson’s short part sung this nicely. (Being the morbid weirdo I am, I by the way liked this production’s decision of making Utterson shoot Jekyll. That bullet also went through my heart, in the good way.)

Moving on – to Spider, of all characters. Kim Hammelsvang Henriksen’s Spider was one of the happiest surprises in the production. The Red Rat’s pimp is a remnant of an earlier version of the musical’s script (he was originally the evil side of Simon Stride). Usually, he's a pretty boring character. In most current versions of the show, Spider threatens Lucy in two scenes, sings a couple of unnecessary reprises of Facade and disappears. Not this time! Not quite existing in the same reality as the rest of the characters, this Spider is the Che to Jekyll/Hyde’s Evita.

That is bad news for me. I have a huge soft spot for narrator figures in musicals, the snarkier and creepier the better… So I’m kind of in love with Spider now. Shoot.

At first, Spider performs his usual pimp’s duties in The Red Rat, mistreating Lucy and skulking around. When Hyde is born, Spider first acts as a sort of an underling to him, mostly staying out of the action but giving him a helping hand every now and then, cheering him on, periodically narrating and commenting the story via Facade’s reprises. In the second act, Spider’s presence grows stronger, with him observing the action and breaking the fourth wall. We see him taking notes of Hyde’s murders and then throwing his papers in the air when Jekyll meets his fate in the final scene. I didn’t really understand what the note-taking was all about, but I still enjoyed the character’s attitude – by the end, he is clearly enjoying the chaos and mayhem for chaos and mayhem’s sake. Actually, he seems a fair bit more dangerous than Hyde.

All in all, I’m glad to see what this production has done to the usually useless character. With someone as charismatic as Henriksen in the role, the interpretation is a joy to watch.

The production also features another narrator-type character. A mental asylum director played by Michael Lindvad opens the first act with Jekyll’s lines about good and evil and begins the wedding scene with Utterson’s lines about Jekyll. He also observes Jekyll/Hyde from the background during many scenes. I was actually looking forward to some great reveal that would justify his presence – maybe Jekyll, I am your real father, or I was R. L. Stevenson the whole time – but no. I felt the inclusion of this new character distracting at best. The show would have been better off if pimp-turned-narrator Spider delivered the hospital director character’s few lines. Unless they could be given back to Jekyll and Utterson or cut altogether, that is.

Overall, this production isn’t really Jekyll’s story. Instead, it is a story about how one person’s disastrous decisions affect the people around him. How good intentions can lead to hell. In the first scene, we see Jekyll trying to help his father in a mental asylum. In the finale, his death is too much for Emma and Utterson. Both are taken into a mental institution. So in a way, Jekyll dooms both his fiancée and his best friend to similar hopeless existence he tried to rescue his father from.

Lying to his best friend without a moment's consideration and keeping secrets from his bride until her already fragile mental health breaks, it is easy to disapprove of this Jekyll’s selfishness. But which one of us wouldn’t try to protect our own hide? It is easier to work for the common good and the betterment of mankind on an abstract scale, be it via creating a new medicine or donating to charity, than it is to admit our own mistakes and make personal sacrifices for our loved ones’ sake. Jekyll doesn’t have enough courage to do what’s right.

Usually, I see Jekyll’s final act of taking his own life (though via Utterson’s hands) as a selfless one. Here, I’m not quite so sure. Thinking of what 19th century mental institutions could be like… I wonder if it’s Jekyll who has it easy, after all. Mind broken but young and physically healthy, what kind of a life is Emma going to have? Could her and Utterson’s downfalls have been avoided if Jekyll had confessed earlier? Or are all their fates sealed the moment Jekyll first lets the repressed part of his personality loose?

Jekyll & Hyde is an interesting and worthwhile musical because it gives each new cast and creative team so much freedom. Every director working on the musical comes up with their own solutions to make up for the script’s weak aspects. The Danish cast and creative team have created a dark, disturbing, somber universe. The production deals with responsibility, cause and effect, and the way people affect each other – or, at least, that’s what it makes me think about. Det Ny Teater’s Jekyll & Hyde is a thought-provoking version of Frank Wildhorn’s entertaining yet flawed musical.

No small feat, no small feat indeed. I applaud you, director Daniel Bohr and the cast and crew of this production. The show will keep haunting me for a while, in the best way.

Photos by Miklos Szabo.

Helsinki Vampires

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

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

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

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

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

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

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

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

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

Raili Raitala and Mikko Vihma

Count von Krolock: Mikko Vihma / Jonas Saari

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

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

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

Raili Raitala

Sarah: Raili Raitala / Anna Victoria Eriksson

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

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

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

Miiko Toiviainen

Alfred: Petrus Kähkönen / Miiko Toiviainen

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

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

Antti Timonen and Petrus Kähkönen

Professor Abronsius: Antti Timonen / Tuukka Leppänen

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

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

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

Laura Alajääski and Risto Kaskilahti

Chagal: Risto Kaskilahti / Kari Mattila

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

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

Rebecca: Leenamari Unho

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

Sanna Majuri and Kari Mattila

Magda: Laura Alajääski / Sanna Majuri

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

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

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

Samuel Harjanne and Jonas Saari

Herbert: Samuel Harjanne

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

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

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

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

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

This production is worth it.

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

Nuoret, martat ja musikaalit

Tänään 18.1.2016 Ylen Kulttuuricocktail julkaisi tviitin.

Voi—

Sen mitä seuraavaksi sanon, sanon 22-vuotiaan, musikaaleja seitsemän vuotta kokopäivätoimisesti fanittaneen, satayksi musikaalituotantoa nähneen teatterifanin auktoriteetilla.

Tämä ei ole hyökkäys Kulttuuricocktailia vastaan – vaan koko sitä ummehtunutta ajatusmaailmaa, jonka vuosikausia jatkunut jyllääminen tiivistyy yllä esitettyyn tviittiin.

Musikaaleja martoille

Musikaali on valtavan laaja lajityyppi. Musiikin keinoin kerrottuihin näyttämöteoksiin mahtuu sekä nuorille, vanhoille että kaikille sopivia tarinoita.

Seuraan ja olen mukana eri musikaalien ympärillä pyörivässä fanikulttuurissa. Nuoria musikaalifaneja on ympäri maailmaa hurja määrä ja he ovat – me olemme – hurjan aktiivisia. Fanitaidetta ja -tarinoita, analyyseja, arvosteluja, covereita ja cosplayta... Suosikkitempaukseni on vuonna 2013 koottu visuaalinen adressi Les Misérables -elokuvan ohjaajalle. 143 piirrosta, joilla nuoret musikaalifanit ympäri maailman vetosivat Les Misérablesin ohjanneeseen Tom Hooperiin elokuvan poistettujen kohtausten julkaisemiseksi.

Miettikää hetki, miten luja intohimo musikaalia kohtaan meillä kaikilla osallistujilla oli – ja on. Kaikille meistä musikaalit ovat paljon, paljon enemmän kuin esityksiä, jotka nähdään kerran ja sitten unohdetaan.

Olen itse yrittänyt ja yritän jatkuvasti tehdä oman osani suomalaisten musikaalien nostamiseksi kansainvälisen faniyhteisön tietoisuuteen. Joskus suomalaiset teokset eivät kiinnosta edes kotimaan faneja, mutta toisinaan kolahtaa ulkomailla asti. Kehuja, haukkuja ja kommentteja: hiiskatti kun en päässyt katsomaan tätä, näyttääpä hienolta, onpa omituinen ratkaisu, olisipa tästä tallenne! Ja aina silloin tällöin joku innostuu musikaalimatkalle. Naapurikaupunkiin tai maailman toiselle laidalle.

Postmoderni surrealismi toimii joillekin, mutta olen satavarma, että keskivertonuori ei jää sen kautta elinikäiseen teatterikoukkuun. Musikaalien kautta sen sijaan? Ehdottomasti.

Niiden vain täytyy olla oikeanlaisia.

Luopukaa viimeinkin My Fair Ladysta, Sound of Musicista, Viulunsoittajasta katolla, Tukkijoesta, edesmenneen iskelmätähden jukebox-elämäkerrasta ja kaikesta, jonka markkinoinnin kärkenä on sana nostalgia. Marttoja ja mummoja ei saa aliarvioida. He ovat nähneet elämänsä aikana monenlaista ja tuskin hätkähtävät, jos teatterinlavalle tuodaan vähän tuoreempaa näkemystä. On monia meillä tuntemattomia musikaaleja, joista voivat nauttia yhtä lailla nuoret kuin vanhatkin. Monia, jotka sopivat niin isojen kuin pienten teatterien ohjelmistoon.

Tuntematon musikaali on totta kai taloudellinen riski. Parhaiten vuosien ja vuosikymmenten päästä muistetaan kuitenkin juuri ne kerrat, kun teatteri uskalsi ottaa riskin – tuoda ohjelmistoonsa Suomen kantaesityksen tai muuten tuntemattoman tai vähän esitetyn teoksen. Hype. Rocky Horror Show. Elisabeth. Cats. Spring Awakening. Wicked. Vampyyrien tanssi. Les Misérables. Kristina från Duvemåla. Jekyll & Hyde. Esimerkiksi. Viulunsoittaja katolla oli vuoden 1966 huippulöytö. Mikä on vuoden 2016?

Oman kokemukseni mukaan musikaalin ei tarvitse kertoa nuoren omasta elämästä häntä puhutellakseen. Tanssivat kissat, Pariisin Kurjat ja Jeesus Nasaretilaisen viimeiset päivät ovat kaikki jättäneet minuun lähtemättömiä jälkiä.

Houkuttaakseen ja koukuttaakseen musikaali ei kuitenkaan saa olla täysin ja tietoisesti nuoren maailman ulkopuolella.

Nuoren on esimerkiksi mahdoton nostalgiafiilistellä aikaa, jota hän ei itse ole elänyt. Itselleni vastenmielisin musikaali on 50–80-luvulla kunnian päivänsä eläneen iskelmätähden tuotannosta koottu elämäkerta. Tällaisenkin musikaalin voi tietenkin tehdä rautaisella ammattitaidolla, mutta koen, että sillä ei ole kaltaiselleni 90-luvun lapselle mitään annettavaa.

Tässä vielä yksi näkemys musikaaleihin tämänpäiväisestä keskustelusta, kapellimestari Atso Almilan tviittinä:

Tähän vanhaan vastakkainasetteluun sanon kaksi asiaa.

1) Minulle on taidetta se, miten musikaalit yhdistävät musiikin, näyttelemisen ja liikkeen. Jollekulle muulle taide on jotakin muuta. Kumpikaan ei mielestäni ole enemmän oikeassa kuin toinen.

2) Taidetta, viihdettä tai sekä että, musikaali voi olla katsojalleen unohtumaton elämys. Kokemus, joka auttaa jaksamaan arkea, ymmärtämään maailmaa ja itseään. Nauttimaan tästä ainoasta meille annetusta elämästä. Sitä ei pidä vähätellä. On ok, jos ihminen haluaa katsoa vaikka pelkkiä musikaaleja – tai vaihtoehtoisesti vain postmodernia surrealismia.

Postmodernia surrealismia nuorille

Minä olen opiskelevana musikaalifanina äärettömän, äärettömän onnekas. Minulla on työ. Asuntoni on äitini omistuksessa ja vanhempani tukevat opintojani taloudellisesti. Voin käydä teatterissa kerran viikossa, sillä minulla on siihen varaa.

Suurimmalla osalla opiskelijakollegoistani ei ole.

Jos hypoteettinen opiskelijalippu suuren näyttämön musikaaliin maksaa viisikymmentä euroa, on se yhtä kuin 15 prosenttia 20-vuotiaan, korkeakoulussa ensimmäistä vuotta opiskelevan henkilön opintorahasta – ennen veroja. Jos oletetaan (yltiöoptimistisesti), että hypoteesimme esimerkkihenkilö saa maksettua asumiskulunsa asumislisällä eikä nosta opintolainaa... Kuluttaisitko sinä 15 prosenttia kuukausibudjetistasi yhteen teatterilippuun? Entäpä vielä enemmän?

Teatterin tekeminen on kallista. Julkiset tuet pienentyvät. Mutta silti – silti uskon, että vain opiskelijahintoja laskemalla teatteri voidaan todella tuoda opiskelijoiden ulottuville. Jos opiskelijahinnat nousevat, teatterissa käyvät vain kaltaiseni pappa betalar -kultalusikkalapset.

Jopa tämä edellä mainitun kaltainen lellipentu ymmärtää, että ei tämä näin voi toimia. Ei voi. Teatteri ei saa Suomessa eriytyä vain hyväosaisimman kansanosan huvitukseksi. Suomalaisella teatterilla ei ole siihen varaa.

Kuten kirjailija, opettaja Tommi Kinnunen Twitterissä huomauttaa, pelkillä hintojen halvennuksilla ei saada ihmeitä aikaan. Koulujen pitäisi tehdä osansa. Kotien pitäisi tehdä osansa. Jos oma äitini ei olisi käskenyt minua teatteriin, en ehkä olisi fani vieläkään.

Kouluja on vaikea ja koteja mahdoton pakottaa innostamaan nuoria teatteriin. Teatterit voivat kuitenkin tehdä osansa. Se osa lähtee ohjelmiston lisäksi opiskelija- tai nuorisohintojen alentamisesta ja alhaalla pitämisestä. (Nuorisohintoja harrastetaan monissa pohjoismaisissa teattereissa. Ks. esim. tanskalaisen Aarhus Teaterin hurja arki-iltojen alennus kaikille alle 25-vuotiaille.)

Lisää yleisöä

Loppukaneettina julkaisen kymmenen teoksen listan Suomessa harvoin tai ei koskaan esitetyistä musikaaleista, joiden uskon kolahtavan suomalaiseen yleisöön – sekä nuoriin että vanhempiin. Saa ehdottomasti napata omaan ohjelmistoon ihan heti paikalla. Lisää sopii ehdottaa kommenteissa.

Bonnie & Clyde (Wildhorn, Black, Menchell – 2009)

Surullisen ajankohtaiset teemat: lama ja syrjäytyminen. Kiihkeä, historiallinen rakkaustarina vie jalat alta. Erittäin vetävä musiikki.

Chess (Andersson, Ulvaeus, Rice – 1984)

ABBA-miesten tanssittavan menevästä sydäntäraastavan kauniiseen kulkeva musiikki. Shakin ja kylmän sodan pyörteistä nousevat inhimilliset, epätäydellisellisyydessään realistiset hahmot ja heidän rikkinäinen rakkautensa.

Dracula (Wildhorn, Black, Hampton – 2001)

Kauhuklassikkoon perustuva musikaali, joka aiheuttaa musikaalina erityisen varmoja väristyksiä – kielletty romanssi rajan tuolta puolen ja kiivastahtinen vampyyrinmetsästys koetaan Frank Wildhornin komeimpien sävelten kautta.

Elisabeth (Kunze, Levay – 1992)

Arvoituksellinen sekoitus yliluonnollista ja historiaa. Kuolevaisen naisen ja itsensä Kuoleman rakkaustarina – mitä enemmän romantiikan- tai gotiikannälkäinen katsoja voi enää toivoa! Keskushahmona kiehtova, moniulotteinen nainen. Laaja fanikunta ympäri maailmaa.

Kiss of the Spider Woman (Kander, Ebb, McNally – 1990)

Cabaret'n ja Chicagon kirjoittaneen menestystiimin teos. Intensiivinen, sydäntäsärkevä tarina kahden miehen epätodennäköisestä, epätoivoisesta rakkaudesta ja tilanteista, joista on mahdotonta selvitä ehjänä.

Mozart! (Kunze, Levay – 1999)

Tuore, kiehtova näkökulma Amadeus-näytelmästäkin tuttuun historialliseen hahmoon. Tarina nousee historian oppitunnin yläpuolelle kertomukseksi taiteilijana olemisesta ja epäterveestä omistushalusta, intohimosta ja rakkaudesta.

Nahkatakkinen tyttö (Suutela, Suomela, Jagt – 2014)

Harvinaisen hyvin toimiva jukebox-musikaali Dingon tuotannon pohjalta. Jännittävä, koskettava, samaistuttava tarina nuorilla päähenkilöillä ja mysteerimausteilla. Erinomainen vaihtoehto laitosteatterin ja nuorisoteatterin yhteistuotannoksi.

Notre Damen kellonsoittaja (Menken, Schwartz, Lapine/Parnell – 1999/2013)

Disneyn vaikuttavimman piirretyn pohjalta tehty vaikuttava musikaali. Elokuvaa rajumpi, teineille ja aikuisille suunnattu. Surullisen ajankohtaiset teemat: muukalaisviha ja muiden hyväksyminen.

Rocky (Flaherty, Ahrens, Meehan – 2012)

Tunnettu elokuva kääntyy musikaaliksi yllättävän hienosti. Nyrkkeily, tai urheilu ylipäätään, on musikaalin aiheena raikas. Mukana Eye of the Tigerin tahdittama treenimontaasi, kuten asiaan kuuluu.

Sweeney Todd (Sondheim, Wheeler – 1979)

Hykerryttävä sekoitus mustaa huumoria, vakavia hetkiä ja näyttämöväkivaltaa. Juice Leskisen suomennos – enempää perusteluja ei mielestäni tarvita.

Jep. Näillä aloitetaan.

Lue myös: Varje dag är en dag för musikaler -blogin näkökulma aiheeseen.