Review: Väärennetty morsian
IT’S NOT OKAY TO FALL IN LOVE WITHOUT A SPOUSE
The Chinese-Finnish collaboration returns to the origins of theatre art.
According to the director of the Helsinki City Theatre, Asko
In Sarkola’s words, eight
dream lived for years when the Fake Bride got
premiere. The original idea of the Chinese
about getting a comic story into a Finnish theatre
on stage by combining Chinese and Finnish
theatrical tradition has ultimately produced an excellent
comic pill of joy, which
After the initial confusion, it sucks irresistibly into you.
True love
always wins in the end
The play’s story of arranged marriages and
the all-conquering love of young people is
As such, familiar from many previous plays
and cultures. Sami Keski-Vähälä
as the main character and
The narrator is a woman, an organizer of marriage deals
Zhang (Risto Kaskilahti), who gets busy
times. He would have to train two different
marriage, but mostly manages to mess up
all the patterns between lovers. Finally
Of course, everything turns the right way and the real lovers get each other.
The means of Chinese traditional theatre are:
intertwined with speech, song, movement and
acrobatics. Important measures are also to
music, set design, costumes and make-up, which
Everyone is in the City Theatre’s performance
director Kong Xinyuan’s compatriots.
Although the Chinese have had a hard time in the making of the
very strong contribution, however, it should not be
as a purely Chinese performance. Myself
the text, despite its background, is more
Finnish and acting technique specifically
a combination of domestic and Chinese.
The story of the performance is told above all
in business language, which has certainly set the
actors to a tough test, as all
The roles in the play are physical and demanding
activities. The choreography is made in the traditional
Chinese opera music and it is
extremely meticulous work, hand positions and
down to the smallest gestures.
Chinese theatrical expression includes:
as an essential part of a certain deliberate
unrealistic, most of the key elements
expressed in a more or less exaggerated manner and
symbolically. This causes some of the
of viewers may experience the expression of the actors
to some degree of overacting. This is not the case
practically none; So it’s just an age-old
Chinese style of expression, to which Finns
due to cultural differences, they have not been able to fully
get used to it. Different, but absolutely entertaining and original.
Handsome
Ensemble
The City Theatre’s cast has taken on
challenge and went all in on the
roles that they probably haven’t played before
They didn’t do anything. Favourite actor Risto Kaskilahti
fans get to enjoy all the money for his
brilliant comic expression and precise
about the timing. At times, the proposal threatens to go as far as
a little too much for a Kaskilahti show, as his
quite a lot has been written for his character
guaranteed laughable lines and
seizures.
Fortunately, others also get to let loose and show their talents.
Experienced Seppo Maijala doctor Pingina and Pekka
Huotari shopkeeper Peina are absolutely hilarious
fathers whose offspring causes them
gray hair; They tend to fall in love
all on their own. Young Hannes Suominen Ping-On
The boy is a role model for all mama’s boys. Eija
Vilpas widow Sunina and Eeva-Liisa Haimelin
Mrs. Ping show how diabolically
mothers can be cunning when the aim is to
is to get the children to marry as cheaply as possible
without caring about their real feelings.
The masks and costumes for the play are still at the end
A very special object of praise. The costume splendor is
absolutely eye-catching in its details
and masks at the latest ensure the actors’
fermentation from almost genuine Chinese. In the auditorium
been the Chinese Ambassador to Finland and his entourage
judging by the reactions, he also seemed to have
a lot of the performance, so from this point of view as well
From an inspected perspective, the cooperation project is an absolute victory for the City Theatre.