Review: Myyrä

A MOLE DUG A HOLE THE SIZE OF A STAGE

What may have happened here is not necessarily the fault of the “lifters on stage”.
Namely, Jari Tervo’s Mole is so cunning for a novel that when you try to force it into another form, when the tail rises, the beak sticks and when the beak comes off, the tail feathers are already in a pinch.
The narrator’s opening text masters history and imaginative history in the terrain, is not afraid of climbs, lets go flat with a beanie on his ears and pursues the expressions of a bird of prey, and concentrates on the descent enjoyably, beveling the bends of the trail with his sides. The dramatist has to make his choice. What to take, what to leave. What about the equipment and lubrication, glide and grip? Misjudging or taking risks can lead to a mess.

With Sami Keski-Vähälä’s choices and Milko Lehto’s direction, the Helsinki City Theatre’s performance does not turn upside down, but the different emphases make it look different from its starting point. It’s a matter of taste, then, which is more of a mole. It is also not certain whether the play will open up better to those who have not read the novel. However, I recommend reading it beforehand or afterwards.

Supo’s young detective, Jura Karhu, is tasked with uncovering a spy from the top of the republic. With a whole family of communists in the background, Finlandization in front of their eyes, and Kekkonen under the magnifying glass – that’s what Jura is in. Her task is excitingly serious and funny. The intersection of themes and plot is demanding to execute, and now they have leaned towards an ironic approach, which means that the stage is usually full of raucous action. However, the whole cannot be treated as a parody, and the inevitable pursuit of balance erodes credibility.
The story travels in the “present day” of the old president, and his memories and memoirs serve as a complement to the portrait and as important information. The episodes, even scandalous ones, lose some of their power on stage. The author’s way of looking at the characters is, I argue, more understanding and warmer. The tragedy that cuts through the action, on the other hand, is the drama of both life and theatre.
If the narrative – with the overlapping scenes taking place at different times – is somewhat bouncy, then the performances are largely excellently rewarding.
Antti Litja gives the old president a character that is not just a picture, not based on our appreciation or lack thereof. It reinforces or rejects prejudices, but it also appeals. Even the age of the person under dispute is late in the evening. Strength creates opposing forces, fragility awakens the desire to protect. Litja is good.

Pertti Koivula draws a clear-cut caricature of Stalin , Jouko Klemettilä surprises as Beria, who dances classical ballet (do a trick after him), and Rauno Ahonen is a man in his place as Detective Bear, even though the tension between the roles in the fast-paced plot is high.
The two joyful interpreter performances of the implementation in the meetings of the big boys are seen as excellent insights. They are responsible for Tiina Pirhonen and Aino Seppo, both of whom have a role in the production with their sons, or should I say girls. Yes. Or rather, with the girls; Women are always in demand in the sexy spy world!
The cornucopia of stage design, costumes, make-up and props spiced up with videos deserves a special mention. Thank you. And the same in Russian.