Review: Pekka Töpöhäntä

PEKKA TÖPÖTAIL CONQUERS FROM CHILDREN TO GRANDPARENTS

Ilkka Kuusisto’s lightly swinging music provides a rhythmic background to the Swedish classic fairy tale arranged and directed by Anneli Mäkelä . Started in 1939 by author and radio journalist Gösta Knutsson , the book series is ready to conquer new generations, now on the small stage of the Helsinki City Theatre.
The author himself has estimated that the explanation for Pekka Töpöhänttä’s popularity is his writing style: he wrote for children just as he would have written for adults. The themes of the books are universal, so at different times, readers/viewers can make their own interpretations of them that suit their time.

Bullied and bullies

Pekka Töpötail is a different revelation in the hard hierarchical world of cats. The cats’ biggest source of pride is their handsome tail, but Pekka only has a negligible tail. He is bullied and eventually ashamed of his stupidity himself.

Sami Uotila’s (Pekka) voice is just right for a fairy tale and fantasy play. The velvety softness of the voice makes the character warm and safe, even if the adventures can sometimes become scary. Uotila is also able to do relaxed and skillful exercise.
In connection with the events in the port of Stockholm, we get to know the excellent police constable Misse Pamppu (Marjut Toivanen), who is sometimes unjustifiably important as a representative of the authorities. The tip of the tail rises to spin on top of the head as the Pamppu speeds around the stage in the beep car.
However, the theatrical hero is Matti Olavi Ranin and his strongly empathetic interpretation of the cat Catfish. Catfish is the mafia boss of the cat village, who terrorizes and dictates the order of things with his helpers.
In addition to Catfish, the show’s clown couple Pilli and Pulla (Jouko Klemettilä and Sixten Lundberg) are responsible for the practical evil deeds. Foolhardy blind loyalty, obedience to a false authority and yet at the same time being aware of the flaws will go through even the smallest viewers.
Family theatre does an important job in conveying experiences, experiences and culture to new generations. And at best, together, uniting different generations. Pekka Töpöhänttä is also such a classic that you can imagine grandparents taking a pleasant nostalgia trip to their own childhood with it.

Too many ingredients

Nowadays, the theatre technique, performance aesthetics and appropriations have risen to such a high level that the creators have put too much effort into the play without even noticing. The power of theatre lies above all in ingenuity and finding successful metaphors.

Even Pekka Töpöhänttä would have been further improved by a slight tightening. The stylish lady cat Rauha (Eija Vilpas) was perhaps too long in her wedding preparations. Possibly, the kissing of Pekka and Maija Milkbeard (Sanna-June Hyde) could also have been omitted – the affection and acceptance of differences had already become clear.
But above all, an almost perfectly realistic camouflage would certainly work with less. Referencing is usually enough, especially when humans are in the roles of animals.
Even the pre-school-age test audience in the home audience thought that the best thing in the play was Pilli’s cry “No to the sauna! Not to the sauna!”. After a failed prank, Catfish threatened to beat Pilli and Pulla.
Simplicity is power. In the theatre.