Review: Tango
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in 1966, two years after the play was published, it was read in the same way as other dramas of socialist Europe. Every sentence was thought to tell truths under the surface, which were swept away by official information, social humming
well under the rug. At the same time, of course, it was realised that Mrozek himself was one of the reformers of the theatre, just like the other great names of Beckett of the time
Ionesco. The post-war world vented its disappointment in art as well, clinging to satire, grotesqueness, and the extreme colours of the image of humanity.
The world was no longer the same, and neither was the theatre. For these reasons alone, it was interesting to see the same Tango now at the Helsinki City Theatre, as an interpretation by today’s young director
and more than 30 years after the first impression. Almost surprisingly, Tango lived on and on, even though its own original political expression offers more at this point
hindsight as a new insight. Today, Tango is nothing new and nothing to be surprised about.
Ahead of the curve However, he found himself watching, with interest, although sometimes exhausted by the flow of speech. The colourful, unafraid of expressive excesses reminded me of the spinning drum of a lottery draw with countless
with numbers. In the lottery drum of tango, art, freedom, sex, form, idea, reason, ideology, rebellion, power and what
everything. No one in the stands probably couldn’t find the right row to solve the problems. Even the rebellion that is part of the plot is stifled when there is no
nothing to rebel against. That is one of the insights of the play. Freedom deprived the protest of its sounding board. There was also something chillingly contemporary in the additional numbers of the final draw of the tango. The last dance was left to dance by a murderous bundle of muscles that had seized power, led by a silly old man stuck in ancient values.
Are they taking the world in new directions? That’s what we were left wondering about, it was today’s day, until the end of the City Theatre’s performance
a symptom of the new fascism.
Maija Pekkanen and the stunning richness of Pekka Korpiniity’s shabby costumes were a great addition to Milko Lehto’s
demonstrativeness of guidance. The premiere started with a leaky rhythm and rather stiff lines, but once the mood was found,
and when the style opened up to the audience, Tango was also a pleasure to watch through acting. The top grip held better than
you guessed it from the beginning. For example, Jarkko Rantanen, as the old uncle of the former world, makes one of his most touching roles, and so does Eeva-Liisa
Haimel’s grandmother seeking death. Leena Uotila’s comedy and satire skills are known and in full use, as well as
Erkki Saarela’s boisterous style. Pekka Huotari’s coup d’état, Edek, was loaded with a strong hint of frightening. Cécile Orblin was the wife of a girlfriend who agreed to many
The role is a fresh character despite the slight anaemia of the replication.
And then – was Jouko Klemettilä, once again in his own role, he was sparkling, intense and torn by conflicting emotions
Arturina is really a reason to follow Tango’s fluctuating philosophizing. Once again, I saw that not all roles are suitable for everyone, last season’s Don Juan not for Klemettilä at all, but in Tango
As an artist, expert and charmer, he is in his place. The performance of the tango lasts two and a half hours. They are not easy to see, but they are also more so by comedy’s yardstick
than reasonable theatre.
Tango towards fascism
The City Theatre’s Mrozek classic reflects the present
Slavomir Mrozek: Tango. Helsinki City Theatre, small stage. Translated by Tapani Kärkkäinen, directed by Milko Lehto. Cast
Jouko Klemettilä, Leena Uotila, Erkki Saarela, Eeva-Liisa Haimelin, Jarkko Rantanen, Pekka Huotari and Cécile Orblin.
in 1966, two years after the play was published, it was read in the same way as other dramas of socialist Europe.
well under the rug.
Ionesco. The post-war world vented its disappointment in art as well, clinging to satire, grotesqueness, and the extreme colours of the image of humanity.
The world was no longer the same, and neither was the theatre.
and more than 30 years after the first impression.
hindsight as a new insight. Today, Tango is nothing new and nothing to be surprised about.
with numbers.
everything.
nothing to rebel against. That is one of the insights of the play. Freedom deprived the protest of its sounding board.
Are they taking the world in new directions? That’s what we were left wondering about, it was today’s day, until the end of the City Theatre’s performance
a symptom of the new fascism.
demonstrativeness of guidance. The premiere started with a leaky rhythm and rather stiff lines, but once the mood was found,
and when the style opened up to the audience, Tango was also a pleasure to watch through acting. The top grip held better than
you guessed it from the beginning.
Haimel’s grandmother seeking death. Leena Uotila’s comedy and satire skills are known and in full use, as well as
Erkki Saarela’s boisterous style.
The role is a fresh character despite the slight anaemia of the replication.
Arturina is really a reason to follow Tango’s fluctuating philosophizing.
As an artist, expert and charmer, he is in his place.
than reasonable theatre.