Review: Stadin friidu
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That fluffy girl is such a girl! He conquers the boys at the front, steals the hearts of the officers and delights the viewers as well. Soldiers’ Home Sister Laila receives the nickname Pörri from the soldiers, which may be affectionately called “Pörri, perkele”.
Fortunately, the Helsinki City Theatre has got the small and peppery Ursula Salo in the role, and her male counterforce is the grumpy males Oskari Katajisto and Pekka Huotari.
Through this convincing triangle, Stadin friidu – the love story of the Continuation War grows into an invigorating theatrical performance.
Tuija Töyräs has got her hands on a pearl and handled it beautifully. Her dramatisation of Laila Kanon’s book Stadin friidu ja metsien mies (Stadin friidu ja metsäen miesmies) based on her own life has been successful.
At the City Theatre, Kukka-Maaria Karjalainen’s Father did not fare as well, unfortunately.
Canon’s work also has its difficulties. The letter format is difficult for theatre when people don’t really meet.
As a director, Töyräs has solved this well. In the beginning, we are close to the front line together, falling in love and getting hated.
Although the narrative slows down to letters, the dark tones of the work are layered and create expectations for a dramatic conclusion.
Ari Numminen’s choreography brings necessary action to the stage and communicates Finnish tenacity, bravado and, underneath, sensitivity. The play is a delightful whole because of it, and also because of Tiina Jokitalo’s functional set.
The three-part, movable screen he created bursts into the story with the smoke of battle, the starry sky of the forest, the train and the home. It is a brilliant part of the play and is complemented by eye-catching lights and image projections.
Viewers cry, laugh and are horrified by the war that destroys young people’s dreams of a life in peace. How topical, again.
Whoops, damn it!
That fluffy girl is such a girl! He conquers the boys at the front, steals the hearts of the officers and delights the viewers as well. Soldiers’ Home Sister Laila receives the nickname Pörri from the soldiers, which may be affectionately called “Pörri, perkele”.
Fortunately, the Helsinki City Theatre has got the small and peppery Ursula Salo in the role, and her male counterforce is the grumpy males Oskari Katajisto and Pekka Huotari.
Through this convincing triangle, Stadin friidu – the love story of the Continuation War grows into an invigorating theatrical performance.
Tuija Töyräs has got her hands on a pearl and handled it beautifully. Her dramatisation of Laila Kanon’s book Stadin friidu ja metsien mies (Stadin friidu ja metsäen miesmies) based on her own life has been successful.
At the City Theatre, Kukka-Maaria Karjalainen’s Father did not fare as well, unfortunately.
Canon’s work also has its difficulties. The letter format is difficult for theatre when people don’t really meet.
As a director, Töyräs has solved this well. In the beginning, we are close to the front line together, falling in love and getting hated.
Although the narrative slows down to letters, the dark tones of the work are layered and create expectations for a dramatic conclusion.
Ari Numminen’s choreography brings necessary action to the stage and communicates Finnish tenacity, bravado and, underneath, sensitivity. The play is a delightful whole because of it, and also because of Tiina Jokitalo’s functional set.
The three-part, movable screen he created bursts into the story with the smoke of battle, the starry sky of the forest, the train and the home. It is a brilliant part of the play and is complemented by eye-catching lights and image projections.
Viewers cry, laugh and are horrified by the war that destroys young people’s dreams of a life in peace. How topical, again.