Review: Spring Awakening

SPRING CAME FOR THE CRITIC

I went to see the musical Spring Awakening at the Helsinki City Theatre and was moved, like so many who have seen it.
Not because of the plot, though, even though the story is quite shocking. No, I was touched by the level of expertise that can be found in Finland today!


Ancient in the last millennium, when making the musical Cats , the same theatre asked for and received special permission from Andrew Lloyd Webber to use dancers, singers and actors separately in the performance.
This was because there were no musical actors in Finland who could master everything.
Now times are different. Musical theatre is also taught at the Theatre Academy.
I’m glad that the musical is no longer considered a second-class theatre in Finland, but is seen as a genre in its own right that requires special expertise.


The City Theatre’s Spring Awakening does not pale in comparison to the productions in London’s West End. There is no point in looking for a weak link in the performers.
And the movement! The dance does not stop, but travels with the performance and carries the story in the same way as music and text.
The performers interpret Harri Kuorelahti’s frenzied choreography with a harsh throw. Kuorelahti has seen into the inner world of confused teenagers and brought it into the self-destructive amok movement.


Of course, I also watched how Mariko Pajalahti would fare among theatre professionals. He coped well and whipped out his frenzy and bad feeling like everyone else.
On the other hand, it’s no wonder when you think back to her TV dance victory.
But why didn’t she dance in Finland’s Eurovision qualifiers, but was content to swing in her killing heels?
And now, for God’s sake, make a choreography for Waldo’s people in Moscow as well, so that it won’t be just a lounging on stage! Just look at how in Sweden they create a whole with graph paper. Movement really matters, and the power of dance should not be underestimated.