Review: Rebecca

REBECCA TURNS INTO A HIT MUSICAL

The musical Rebecca, a collaboration between author Michael Kunze and composer Sylvester Levay, based on Daphne du Maurier’s well-known romantic novel, is a major investment at the Helsinki City Theatre this autumn.
Director Kurt Nuotio certainly does not spare the possibilities of institutional theatre, and Katariina Kirjavainen , who designed the set design, cannot be accused of unnecessary modesty in terms of stage design.

Surely Rebecca’s overly romantic story and composer Levay’s even more pathetic, downright furioso-like music require magnificence around them in order to maintain balance. However, Rebecca becomes more interesting than the average musical because of its story: it is no wonder that du Maurier’s novel quickly became a bestseller of its time.
Fateful solos, repetition and gloomy tones characterize the auditory part of the stage. These elements are most clearly evident in the thrillingly wonderful Rebecca theme song performed by Sari Ann Moilanen (Mrs. Danvers), in which the raven-black housekeeper describes a dead woman he blindly worships. This melody stays playing.
But just as fine is the powerful voice of the delicate Sanna Majuri (Me). Especially the joint singing of these two women makes an impression on the listener.

The play’s third power feminine, Riitta Havukainen (Mrs. van Hopper), has once again been given the role of an amusement, and she builds it skilfully again. In love and manly, Kari Arffman (Maxim de Winter) is handsome and charming, just as his heroic role requires.
The problem of the thin characters typical of the musical is buried in Rebeca’s grandiosity and grandeur: at the Helsinki City Theatre, everything is now of a huge size. Even orchids and wigs seem to take up space.
So there is a treat for lovers of musicals, and those hungry for romance will have their minds satiated.