Review: Sateenkaaren taa

THE RAINBOW ENDED IN A PILL JAR

Susanna Haavisto plays a harrowing role in the Helsinki City Theatre
Judy Garlandina

Judy Garland was one of the founding days of Hollywood’s so-called musical film era
brightest stars. He is probably best remembered
for her role as Dorothy in The Wizard of Oz (1939).
Garland, who was only 16 years old, sang himself in it to the Americans, and later
to the hearts of the whole world with the dreamy classic Over the Rainbow .
The song later served as the basis for Garland’s career as a solo singer.
However, Garland’s own life didn’t go quite as it did in the song
they say. Garland, who died of a drug overdose in 1969, was
used to snacking on pills for any ailment since a teenager
Since then. By the 1960s, he was already a hardcore drug addict and
in debt.

Behind the Rainbow by Peter Quilter – tonight with Judy Garland
attached to this tragic fact. The 1968
actor’s miniature musical depicts Garland’s last great London
It ended in disaster. Garland’s fate is probably
A fitting reminder to anyone aspiring to become a modern-day pop idol of how
The entertainment industry can be brutal at its worst.

Haavisto hits the spot

In terms of its shape, Behind the Rainbow is also very reminiscent of Peter
The musical Magnificent, written by Quilter, which also runs
at the Helsinki City Theatre.
Again, the main role is played by a stubborn woman, music and real events
based on the fate of the Society.
But unlike Florence Foster, who missings in the musical Magnificent,
In the case of Jenkins , now we get deeper than the surface.
The biggest thanks for this go to Susanna Haavisto, who has adopted the
Garland’s essence more or less perfectly.
Haavisto’s Judy is alternately captivating and pathetic, brilliant and arrogant,
morbidly narcissistic and harrowingly insecure – in other words, downright
schizophrenic combination of fragility and strength.
However, the fatal factor is that Judy knows how to
you get what you want from men, even if it’s just a tiny
a drop of whiskey, weeks of unpaid hotel bills, or
from the ring to the ringless.
The thorough role is crowned by Haavisto’s dark alto, which plays about the situation
either jagged or glorious.

No great drama

Satu Rasila’s direction is functional, although a little flat. Very big
The blast cannot be extracted from the story in Studio Pasila’s “black box”
Sterile hotel milieu and simple stage performances
by taking turns.
On the other hand, I guess this little bit of stupidity could also be understood as a picture
from the real life of a fading star. My friends have disappeared, and life
is survival. A junkie has the soul of a junkie, even if it would be
I’m used to luxury.
The men in the play are mostly rattling with Judy.

Santeri Kinnunen is a funnily laconic and all-seeing gay pianist
Anthony, who knows Judy and her men better than they know
Not even myself. From the occasional glimpse of comic tuning
Despite this, Kinnunen does not hesitate to make a caricature of his role
but a whole person.

Petja Lähde is a bit less characterful as husband-manager Mickey Deans.
According to this interpretation, Deans first genuinely believed that he would heal everyone
wounds, like any fool in love, but eventually started to push
Pills for Judy herself to keep the show and finances going
on track.