Review: Tohtori Zivago

Balanced Dr. Zivago

Boris Pasternak The musical Dr. Zivago, based on the Nobel Prize-winning book, had its European premiere at the Helsinki City Theatre. The novel and musical tells the story of the medical poet Yuri Zivago, whose life is guided by love for two women, a sense of honour and the drastic changes in Russia’s political history in the early 1900s.

In reality, many of Pasternak’s friends and contemporary artists suffered and died in the unrest, and the writer felt guilty about their fate. Dr. Zivago has been interpreted as Pasternak’s reckoning or testament, even a “shadow autobiography”.

The first half of the 20th century was very dark and warlike in the neighbouring country, revolutions and world wars tore the nation apart. Russia also becomes steely cold and decayed on stage in the hands of scenographer Ralf Forsström . The contrast to the salons of Zivago’s youth, where people danced with crystal chandeliers shining in magnificent velvet creations, is fierce. But so was the change.

Forsström is able to stage a large space and makes natural use of the countertops. Combined with the lights of William Iles and Kari Leppälä , the stage with its steel pipes bends into a winter battlefield, a railway station, a noble home or an execution site. Weapons are not only seen, but also used on stage to an exceptional extent. Life was death during Zivago’s time. Showing it is almost therapeutic.

Tuukka Leppänen is a sensitive Zivago

However, there is always a person in the middle of major events. In Zivago, it is a righteous and clear-headed doctor who writes poetry and also treats physically.

It’s hard to think of a better Zivago than Tuukka Leppänen. How young, yet profound! Surrendering, but distant! What touches me the most is Leppänen’s understanding of Zivago. He is not just a smooth-cheeked hero, but conveys to the listener how he feels in the middle of a battlefield of love, honor and politics. And Leppänen sings well, from start to finish.

The script for the musical Zivago, which has been brought to the City Theatre, is by New Yorker Michael Weller and the music is composed by Lucy Simon. The premiere was in 2006. The Finnish translation is commendable by Sami Parkkinen. The fresh, functional and unpretentious language blends well into the songs and creates credibility in the characters. Even though the music is beautiful throughout, the super melodies are missing. That is why a functional text is important, the whole rests on it.

Less syrupy

Director Hans Berndtsson has done an excellent job of keeping the whole thing on the side of salt rather than syrup. Zivago’s life can be examined through triangle drama and relationships, but Berndtsson gives space to history and tells more about time than about his relationship with Zivago through each character. Lara (Anna-Maija Tuokko), Zivago’s mistress, is a strong Russian woman who has learned to survive from a young age, and who can cope with the courts and the Huuto people. A true woman of the new age, whom everyone can look up to.

Tonja (Anna-Maija Jalkanen), Zivago’s wife, is the child of a Tsarist aristocracy who supports her artist husband, but whose real atmosphere is among European aristocrats. Russia has nothing left to offer him. On the other hand, actress Anna-Maija Jalkanen has a lot to offer the audience. The beautiful voice fits wonderfully with Tuukka Leppänen and elevates Tonja to the fullest complement of the fateful Lara. Anna-Maija Tuokko, who is always able to shine in the role of Lara, did not yet show all of her singing skills, at least not at the premiere.

Esko Roineen Viktor Komarovski is an oligarch survivor who always falls to his feet, Antti Timonen’s hilarious Antipov/Strelnikov is an iconic image of a twisted fascist for whom politics is life.

Dr. Zivago fits like a glove for the Helsinki City Theatre. The historical connections between the topic and Finland are interesting and the treatment is classic. Even though love is discussed here, the human experience becomes more important in the midst of internal and external turmoil. The guaranteed team of creators creates a balanced whole of the musical that is worth seeing and hearing.