Review: Maija Poppanen
Original nanny
that Poppins’ Maija!
Helsinki City Theatre’s autumn programme began with the tunes of Poppas. The musical for the whole family is an anticipated event. It also answers the calls and will undoubtedly gather full halls time and time again. Above all, it appeals with a brilliant set-up, an empathetic orchestra and an ensemble full of fairy tales and play. The power of the crowd scenes is unrestrained at its best, not least thanks to the excellent dance troupe.
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When comparing theatre and film as storytellers, the former often comes second. Therefore, it is worth taking a completely different path.
Maija Poppanen is a dream nanny hatched from literature, a family of magicians, raises both children and parents, is healthily proud of her professionalism and shows by example that self-esteem is good from selfishness from evil, that indifference is often the same as free upbringing, and that even discipline tastes better if you mix it with a drop of sweetness. Maija recommends everyone to fly, although only according to a light formula – on the wings of the imagination.
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Emmi Kangas is a beautiful, gracefully moving and brightly singing Maija, who also knows how to skillfully pick the berries of humour along the path. As a funny counterforce in the central episode, Riitta Havukainen is seen as the nanny monster, who – with her voice as lush as her presence – takes the space that belongs to her from the stage. The “rascals” of the story, Anna and Mikko Pankki, are seen in several interpretations during the season, with the lively Nelli Matula and Akseli Ferrand in the premiere crew.
Tuukka Leppänen, who is Perttu as Maija Poppanen’s partner, also has real musical material, as does the sullen Ursula Salo and the supple fool Antti Lang in the kitchen. Heikki Sankari as a bank manager is also excellent, and the bank hall scenes as a whole are remembered as well crafted and executed.
The sets are many times more than just illustrations, whether they are under a dome or a starry sky or above rooftops, in the world of sooty huts. There is no lack of ingenuity, and there are many functional details.
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Some episodes would have been even better if they hadn’t been unnecessarily prolonged, delays have their effect, but also their dangers.
As is typical of musicals, Mary Poppins also has a sometimes too naïve narrative layout, such as the power relations within the family that need to be changed. But in a fairy tale, it probably doesn’t hurt to eat old snacks either. Maybe it’s not about letting fear get close either, witches and strange creatures are a regular part of the fables. However, this should only be momentary and end up restoring the feeling of security – for example, by pouring laughter.
However, the music really comes close, and the familiar melodies light up the audience several times to rhythmic applause. The fast tempo and the dancers’ “rolling legs” are to the liking of both young and old viewers.