Review: Viimeinen valssi
Tragicomic scenes of old age
The Last Waltz, written by Carin Mannheimer, is a strict critique of society. The play does not bow down to images, but reveals the very brutality that plagues the care of the elderly, without forgetting the elderly themselves and their emotions.
When you could die, but you wouldn’t have to die alone. There should still be love, and if you can’t get the children there otherwise, you pay them for it.
The old age of the last waltz is a lonely time. Several lonely people form a group of different pairs, in which eventually even a budding friendship can be seen.
The situation is not a treat for the employees either: Estonian Vallo (Sami Hokkanen) is a practical nurse who, however, dreams of becoming a doctor. Head of department Elsa (Merja Larivaara) is on the verge of burnout. At work, Easter, Pentecost and Midsummer go by. However, Elsa works with her heart and doesn’t want to work behind a desk, even if it pays a ton more.
Where did that life go?
The Last Waltz is full of brilliant performances. Raila Leppäkoski’s direction creates truly convincing images of the elderly. Everyone’s movements and gestures are so finely executed that the straightened backs and lighter steps during the final bows are downright confusing.
Harriet, played by Sara Paavolainen, has created an imaginary world around her, where the boy lives abroad and travels around the world for his great work. Maikki (Ulla Tapaninen) mainly thinks about food and sometimes maybe a little about Hannes. Hannes (Seppo Maijala), on the other hand, writes about the plants of the meadow fields in both Finnish and Latin – if you happen to remember.
The characters of Paavolainen and Tapaninen are delightful. Just the harmless and sweet granny type who may suddenly say something that makes the children and grandchildren pull the bun down the wrong throat.
Antti Litjan Olli is so alone in the world that, just in case, he spends all his time writing his funeral and memorial speech. Ulla (Riitta Havukainen) is a tough and cynical old woman who doesn’t want to let anyone near her. Maybe.
Litja and Havukainen turn cynicism into art. At the same time, wondering if that life was wasted?
Ingria (Leena Uotila) has incipient dementia and has no way of adapting to her new home. Hungry for love, Axel (Tom Wentzel) tries to ignore the fact that Inkeri calls him by the name of her deceased man, as long as he gets close.
Uotila is endearing as he paces from one place to another childishly and wonders about everything over and over again.
Ingri’s daughter Kristiina (Jonna Järnefelt) is trying to adapt to the fact that her mother is getting older and her roles are changing.
Music is part of the story
Between it all is Pirjo Bergström’s piano music, which in many places supports the play. There is also a lot of singing in the last waltz , Paavolainen and Wentzel’s joint performance of Picardy’s Roses is excellent. Jonna Järnefelt’s interpretation of Mother’s Eyes causes real chills.
In the last waltz , all the settings are in order, the music is beautiful and it works. Antti Mattila’s set design is successful and there really is an old people’s home on stage that you can almost smell. There is nothing to complain about in Kari Leppälä’s lighting.
But. Finally, the waltz consists of scenes, most of which are moving. The viewer’s emotions are thrown into a deep-seated mill that is sure to touch everyone. However, among the great performances, music and serious matter, the actual plot is missing. The play is born from individual scenes that could very well take place somewhere. Despite its lack of plot, The Last Waltz is a thought-provoking play that doesn’t hurt to watch.