Review: Diivat

DIVA DRAG SHOW GROWS INTO A PARODY

Roine and Sarkola present
Leo and Jack,
who represent Shakespeare
and Maxinea
and Stephanie, who play…

Esko Roine and Asko Sarkola play two rather lousy actors
Leo and Jack. Leo and Jack perform boringly
Shakespeare fragments, boring but still professional. Then
They decide to put their expertise on the line and pretend to be two
millionaire heirs, and they train to be these first as men and then
after the reality was revealed as women. Roine and Sarkola’s portrayal of Leo
and Jack will be Maxine and Stephanie, who will have to play the
not only lost relatives, but also fragments of Shakespeare. Every now and then
One of them struggles in a different layer of reality than the other. Roine and
Sarkola has to keep the layers separate – except when Leo and Jack
forget who they really are.

Divas are the theatre of precision. To succeed, it requires such
amazing comedy actors like Esko Roine and Asko Sarkola, because
Every vibration of the cheek muscle is essential.

Yes yes, yes the other actors are good too, the women are radiant and
men slip or are otherwise strange. But other roles only
frame the rabble of the middle duo.

So Roine and Sarkola – or actually Leo and Jack – wear dresses.
It’s a risky trick, after all, a man dressed as a woman is guaranteed
a source of laughter and worn out in its guaranteed certainty. Drag shows are growing in divas
parody. The gentlemen are almost charming in their horrible handles,
But all the time Santa’s hairy leg and hoof are rattling in the hems.

By train to the idyll
The performance, directed by Neil Hardwick, is a bit slow at first. Clumsy
Shakespeare’s interpretations are appropriately creepy, but still a little
exhausting. The Prince of Denmark holds a skull and asks
alternatives, as is often done simultaneously in the Hamlet icon,
The dustiest velvet dresses in the scarce costume stock are used, and so
still, but this is not really fun yet.

Divas are only born on the train, although a primer is of course necessary.
Yes, a train rolls onto the scene! At first, I was really scared that the car
breaking the magic of the stage is no longer enough for an even bigger
The machine must be made to move. The deception was complete, because it was like
was the magic of the stage. The train takes you to the house of idylls: Hannu Lindholm’s
The staging works not only with farcical appearances and disappearances
The stage is also a beautiful one that offers dreams.

Finally, the performance, directed by Hardwick, is so fast that Leo and Maxine are
simultaneously on stage in different roles. The concept of time gets a ride in other ways as well:
Set in the 1950s, the play makes use of the 2000s way of gesticulating.
When the show ended, I was afraid that the mascara would be all over my cheeks.

It’s a pretty clever sugar cake.