Review: Tohtori Zivago
A handsome spectacle about Russian history and the power of love.
Helsinki City Theatre’s grand musical last season, Fiddler on the Roof , will now have a handsome sequel when it is the turn of Dr. Zivago. Boris Pasternak Based on the Nobel Prize-winning bestselling novel, the book is set in the whirlpool of sore points in Russian history.
Michael Weller has adapted the thick epic into a musical, which must have been quite a project. Lucy Simon’s handsome music echoes both echoes of the revolution and romantic love ballads. Like Fiddler, Zivago is directed by the wizarding master Hans Berndtsson. The 18-piece orchestra is led with a steady hand by Markku Luuppala. The fact that Zivago at the City Theatre is also the European premiere adds its own added value to the spectacle.
Great emotions in the turning point of history
The central character of the work is Juri Zivago, an ideological, poetic doctor who is interpreted by Tuukka Leppänen in an extremely fine and multifaceted way. The extensive, multi-threaded plot has two intertwined stories. The first follows the political situation in Russia from the Tsarist era through the revolution to communism. We see many, tragic human destinies, strict moral reflection and the madness of the era. There are several good roles in the character category.
The second story is a relationship tragedy in which a fateful, passionate Lara appears on the path of Zivago’s life. Lara is interpreted by the beautiful and beautifully singing Anna-Maija Tuokko. Things are complicated by the fact that Zivago has just gotten married. The wife is played with heart by Anna-Maija Jalkanen. But great love is not looking for the right moment. The dark drama of passion is brought in by the fact that Lara already has two men in her life. The other is the cynical speculator Komarovski, who is brilliantly played by Esko Roine . It’s a brutal efficiency where the man provides for it if the woman agrees to have sex. There is also Lara’s new husband, the revolution-loving Antipov, Antti Timonen, whose role is excellent and fierce, especially in the second episode.
Despite the messy twists and turns that look a bit like a soap opera, these are big emotions and difficult choices. The miraculous power of love sounds wonderfully and touchingly, especially in the joint duets of Leppänen and Tuokko. Filmed in the midst of all the chaos and destruction around it, the lovemaking scene is beautiful and heartbreaking. The basic message is both humane and emotional. The historical framework, in particular, brings a strong atmosphere to the performance.
Spectacle and the thunder of war
Ralf Forsström’s interesting set design turns into both a Tsarist dance hall with a loft and a frozen train track with a strange armoured monster grimacing at the front. The sight is reminiscent of the legendary battleship Potemkin. Forsström’s costumes show comparisons to both fascism and the Winter War. The sound effects of the war scenes are sturdy.
Gunilla Olsson’s choreographies are spectacular in a large whole. There is a parodic waltz from the Tsarist era and Slavic character dances, such as in the wedding scene. The men bend handsomely to a little bit and there is also humor involved. The war scenes feature acrobatic agility and interesting elements reminiscent of modern dance.
Of course, there is relevant pathos, but the whole thing is strong and memorable. The performance is a powerful image of the times, a celebration of love and also a tribute to Boris Pasternak. Generations of men disappear, but poetry remains. The stylish programme includes an article by Russian expert Jukka Mallinen , which explains Pasternak’s history in relation to his main work, Doctor Zivago.