Vesa Vierikko’s guidance is faithful to the original text, up to odorlessness.
Saituri, premiere at Vallila National Theater 11.8. Directed by Molière’s play Vesa Vierikko, translated by Arto af Hällström, Dramaturg Eva Buchwald. Stage and costume design Tarja Simone, lighting design Ville Toika, sound design Esa Mattila, camouflage design Petra Kuntsi. In the roles Sami Lalou (TeaK), Markku Maalismaa, Karin Pacius, Jussi-Petteri Peräinen (Teak), Heikki Pitkänen, Antti Pääkkönen, Paula Siimes, Asta Sveholm, Marketta Tikkanen and Juha Varis. ★★★
Party the feeling and thirst for culture felt palpable on August 11 at the National Theater’s autumn opening premiere, Molièren In Saituri.
Finally, live in the theater. If only this.
Celebration added Tarja Simonen look like epoch ruffles with small nuances brought to the present day. Likewise, Simon’s production of dozens of door frames raises expectations: the French farce typically goes hard, in and out of the numerous doors, from which unexpected people, among others, bang on the stage, among other things, misunderstandings.
The party just didn’t last very long. On Thursday, August 12, the congestion restriction in the metropolitan area was tightened, and from August 20, only 25 people will be allowed to attend indoor public events. An unwanted arc of drama.
Molièren Saiturin the core is money versus love, the brightness of youth versus the rigidity of old age formulas. The contradictions created by these contradictions have not fundamentally changed over the centuries. Nor has the building block of the prisoner of humanity, the weakness of character, changed.
Hence the character comedy Miser (L ‘Avare 1668) still manages to entertain today.
Vesa Vierikko directs very faithful to the original text and the conventions of its presentation on the stage of the Vallila National Theater Saiturin. Not a futile modernization, but a fast-paced comedy based on strong acting. A story transport that relies on Molière’s witty dialogue and central character.
But neither is the interpretation and overall view that runs through the performance that would elevate the classic higher than the version of the original text that is already often seen. The appearance of the show flirts with the epoch, but otherwise the spirit is timeless, even to the odorless.
What in the overall view is discarded, is recovered in the figure shown in a couple of buttons. In general, the performances of the actors are the salt of the performance.
Markku Maalismaa saituri Harpagonina is the soul of performance. Maalismaa makes Harpagon, who is in love with his money and always doubts the honesty of others, a test of physical comedy. The scale of the Earth is wide, the Harpagon drifts from one emotional state to another in nanoseconds, emphasizing the tragicomicity and weakness of this character.
Often Vieriko’s control expands the comedy courtingly to a slapstick, thankfully there aren’t very many broom-to-head scenes that require a fraction of a second of precision.
Slightly special is the choice to accentuate Harpagon’s locust-like jumping with El Cabrero’s painful flamenco vocals. Although the performance does not hang on the epoch, the interpretation does not properly justify the choice.
It does a pretty great physical role, too Juha Varis As a chef and driver driven to the end of the harpagon, as master Jacques.
Young the roles of the lovers Élis and Valère as well as Cléante and Marianne do not offer as delicious acting as the characters of the older generation. The roles of young people are presented by theater school students Asta Sveholm and Sami Lalou mixed Jussi-Petteri Peräinen and Marketta Tikkanen. Sveholm and Peräinen reach the foolishness of the lovers on the verge of madness, Lalou and Tikkanen embody the brightness of youth.
There is an impression of the whole that the interpretation does not want to make choices in one direction or another. These snacks momentarily give rise to a great comedy, but not a biting satire.