Review: Rebecca

AN ENIGMATIC AND MAGNIFICENT SERENADE FOR REBECCA

Cold shivers of infatuation wandered down her spine as Rebecca’s signature melody echoed for the first time during the evening. And when it was about to take off for the second time, the seating position changed from the back to upright, just like when an airplane landed. The atmosphere was just as tensely expectant.
The stage is playing, the hall is playing, the back of my head is playing. The fatefulness intensified and intensified. Rolling music and an orchestra manned by leading musicians, with Henrik Wikström conducting “dramatic sticks”. Strong ensemble.
Sari Ann Moilanen’s sensual, alternately dark, sometimes bright voice silenced the audience; The concentration was unusually coherent.

Kurt Nuotio has quite a merit as a director of musicals. Different stories, different music. The grip on Rebecca is firm.
The mysterious seascape of Cornwall dates back to the European romantic narrative of yesteryear and takes centre stage in it. It knows more than humans. It is allowed to support or take open and hidden emotions and actions into the depths.
From the very beginning, the events hint that there may be skeletons in the closets of Manderley Manor. When the master of the house, the lord of the manor, Maxim de Winter, returns home with the youngster, the reception has been reserved.
The spirit of the late Madame de Winter lives in the house, and her memory is especially fuelled by Madame Danvers, the figurehead of the servants. From here, the knots start to unravel little by little, there is fear, there is passion, jealousy and despair.
And pure young, fighting love, represented mainly by the newcomer, Rebecca’s successor.

The visualisation is handsome, the choreography delicious and the stage positioning of the large group is thoughtful and picturesque. And when Manderley returns, it really is on fire!
The role of Mrs. Danvers is tailor-made for Sari Ann Moilanen, who has fire and destruction both as a soloist and also in her expressive acting.
Kari Arffman’s Maxim offers a good counterforce, but the slight tension was still disturbing at the premiere. In the most subtle dialogues and duets with Sanna Majuri, who leads the role of the new spouse, he was at his best, and Arffman’s empathy for the song Chilling Smile became particularly glamorous.
The Major, with his bright voice and shy appearance, also credibly played his role as an opponent. Antti Timonen as the villain Jack Favelli boiled over wildly, as did Riitta Havukainen as the joyfully self-sufficient and unobtrusively overbearing Mrs. van Hopper.

Liisa Ryömä as a translator has masterfully carried out the great task. And Maria Saivosalmi’s plastic movements as Rebecca, like a vision, also deserve special attention.