Review: Kaunotar ja Hirviö
The starry sky of a fairy tale opens up on the big stage of the Helsinki City Theatre
A WONDERFUL MUSICAL CAPTURES HEARTS
Director Hans Berndtsson has baked a tasty treat for the whole family on the big stage of the Helsinki City Theatre. The musical Beauty and the Beast is amazing in its set design, dazzling in its costumes, breathtaking in its choreography and hilarious in its acting.
Someone wise has said that a fairy tale can only survive by telling it. It adapts to each time and then continues its course.
Fortunately, one of the most wonderful fairy tales, Beauty and the Beast, has found its way to the Helsinki City Theatre.
The realization of the musical is a hair-blowing event!
Satu grabs the blouse from the very first bars, which conductor Henrik Wikström and his excellent musicians conjure up from the orchestra pit.
The world around us is sometimes so cruel that we must have permission to jump on the wings of a fairy tale to dream and believe in the victory of good.
By identifying with the characters in the fairy tale, the child can process even their frightening experiences.
The story of Beauty and the Beast loosens people’s prejudices and urges us to be tolerant. At the same time, it reminds us of the importance of love and kindness.
Satu warns that those who stare at their own navel will always end up alone.
Even a little can overcome fear
Director Hans Berndtsson has said that the story reveals that fear can never be overcome by hate.
In addition, it encourages the child by showing that the smallest and weakest can overcome their fears and the strongest.
The musical, composed by Alan Menken and lyrics by Howard Ashman and Tim Rice, is based on the book by Linda Woolverton. Liisa Ryömä has made the Finnish translation.
The fairy tale is about the book-loving, kind-hearted Bella, her goofy father, her thriving suitor Gaston, the mean-spirited villagers and the monster hiding in his castle.
The story begins when an old witch asks the prince for shelter in a storm. He refuses, whereupon the witch turns the prince into a monster and the courtiers into objects. The magic only breaks if the monster falls in love and also receives love in return. All of this must happen before the last petal of the rose given by the witch falls to the ground.
The fairy tale machine bakes delicacies
Director Hans Berndtsson’s fairy tale machine is greased down to the smallest knob in the mirror cabinet, and it bakes wonderful treats for the stage. The scene exchanges work seamlessly, and the events unfold smoothly with a touch of good-natured humour.
Choreographer Gunilla Olsson Karlsson illustrates the musical with flying and airy step patterns. The boisterous crowd scenes have hints of a cabaret combining singing, dancing and comedy.
I especially remember the cheeky courtship of the hunter Gaston, in which he tosses Bella around like a rag doll, uncontrollable of his strength.
The dinner scene is also glorious, where shiny-sided pots, burning red crayfish, a cherry-decorated champagne stand, juicy pastries and many other delights dance on their own feet into the banquet hall.
The tavern scene is an excellent demonstration of the smoothness of the game of seconds, the ballet of statues in the middle of the fountain is stunning.
The king of the stage
The set designer is Katariina Kirjavainen, who has been gifted with a rich imagination.
Costume designer Sari Salmela’s singers have mourned stunning outfits.
The visual look is dazzling, that’s why roses (with petals) for all the carpenters and seamstresses.
Tatu Tyni has conjured up magic and the transformation of a monster into a Prince that happens before our eyes, simsalabim!
The musical, if it succeeds in this, is the absolute king of the stage.
Juha Westman’s lights and the voices of Jyrki Sandell and Kirsi Peter worked brilliantly.
Marika Westerling’s The beauty radiates sweetness and grit. Her voice, which exudes silk, velvet and a warm glow, melts even an icicle.
Westerling’s glittering golden dress gathered delighted sighs from little girls.
Sören Lillkung understands well the growth of the monster from a rumbling beast to a man ashamed of his humiliation. The movement language of the beast is a bit monotonous, with occasional sliding on the floor. Lillkung is an impressive, stocky man, he could still “tear up” a little.
There is volume in his voice, only the finest nuances want to drown under the power.
Glamorous performances
Pertti Koivula’s foolish villain LeFou is a juicy role. Koivula throws himself into the shoes of a gun-bearer at such a speed that you are out of breath all the way to the stands.
Risto Kaskilahti is the French-cracking giant candle Lumiere, which blazes glamorously.
The excellent Eero Saarinen is a ticking bundle of nerves, a closet clock Cogsworth.
Mikko Vihma, who sings skillfully, is the narcissistic bundle of muscles Gaston.
Markku Huhtamo is a gentle father who inspires confidence in his child.
The light-toed Elina Silander is transforming from a silly maid into a duster.
Ursula Salo is the cheerful and motherly Mrs. Nokkava and Antti Lang is the brisk boy Kippo.
Jaana Mäntynen is a gorgeous singer-diva who has spent her life in front of a mirror admiring herself, and has therefore been conjured up as a dressing table.
Ursula Salo’s and Jaana Mäntynen’s interpretation of the Oscar-winning theme tune Beauty and the Beast is delightful.
The cast consists of singers for whom you don’t have to sweat your butt tight.
Intergenerational network
Risto Kaskilahti has also been scolded for the current world. The text has been updated with Eurovision jokes and funny schlager references suitable for the occasion.
Liisa Ryömä has made a translation gem.
When I returned from the theatre, I noticed the front page of the tabloid, which was decorated with Lordi from the band Hirviö and presenter Jaana Pelkonen as a beauty.
I wonder what the Disney team would say about the heavy metal version of Beauty and the Beast , Pelkonen replaced with, say, Tarja Turunen..?
In the meantime, embrace the healing effect of the fairy tale at the Helsinki City Theatre.
Author Kirsi Kunnas has said wonderfully that the world of fairy tales is a web built into us from one generation to the next. The family’s shared theatre moment, accompanied by grandmas and grandparents, weaves the web even stronger.
If only theatre could also afford a theatre package for generations, which could be discounted a little more substantially.