Review: Rimakauhua rakkaudessa

HORROR IN LOVE BUT NOT IN INTERPRETATION

Carelessly groomed. That could be one of the attributes of the Pasila studio’s show musical Rimakauhua kärlekssa. The expression is strongly positive, as under the direction of Milko Lehto , the performance feels relaxed but precise. It demands vocally, requires dance, picks up the comedy carefully but does not believe in the forced fun.
Both in terms of crew and duration, the show musical in question – originally made in the USA – feels just right for Pasila. Love’s spaghetti dish is tasty but not too hearty. And the target group becomes broad when it includes people in their thirties and middle-aged as well as novices and seniors.

The story is conveyed in songs, which allow a lot of leeway for interpretation and the personal vocal range of each soloist. The melodies themselves are emotions of their own, and the lyrics and clear articulation ensure that the narrative is complemented and speaks to us. As excellent as the musician duo is, they stay either in the background or alongside them during solos; The resulting cooperation is “instrumental” throughout; An alert player next to him gives him more kick.

Tiina Peltonen’s and Ville Sormunen’s cheerful and inventive choreography, which the team admirably succumbs to, is an absolute guarantee of success.

The common thread in the songs is the search for happiness and the bolstering of hopefulness for those who have been disappointed and frustrated time and time again.
They laugh at oneself and others and at getting carried away with trends, everyday life and inadequacy.
The difficulty and pain of living come to the fore, even though there is still time. Or is it? When it’s in a hurry, and you’re always in a hurry. The vocabulary is from today and self-evident that love is no longer even required to endure endlessly. In other words, as is assured in the song “Another Time Toden” by Hanna Kaila and Antti Timonen.
Timonen’s generational song Fathers and Sons by Timonen, Sami Hokkanen and Jukka Nykänen is also sensitive, as is Pauliina Kiuru’s Always the Same Pattern. Hokkanen’s solo Ahead of a New Day has a cheerful appeal, and the highlight of the evening is Kaila’s joyfully thrown and toned praise of being loved, I got a bass player. The interpretation is also supported by the strong presence of the “object”, Häkä Virtanen on bass.