Review: Troikka

A-class stage adaptation of the novel Tervo – finally

I have seen half a dozen theatre performances based on Jari Tervo’s novels. Most of them have had the trouble of trying to be funnier, wittier or more mischievous than Tervo’s books themselves. That is why they have become treatable.

Studio Pasila’s “Troika” is from another world. It is a well-paced, well-thought-out spoken theatre that is faithful to the novel of the same name Tervo in the important sense that while the humor in the book is above all in the author’s skilful sentence and often also between the lines, the lines on stage are mostly snappy and deliberate. And those line spacing are shown in small, almost imperceptible gestures and facial expressions.

This kind of work requires precise acting, and that’s what you get to enjoy in the main roles of Troika.

A train journey of time to develop a relationship

Sami Keski-Vähälä, who adapted Tervo’s novel Troika into a play, has commendably highlighted the description of a train journey, which is like an inside story, as a central element in the book. In it, General Mannerheim and his staff travel to the two-year celebrations of the occupation of Tampere during the War of Independence (this form of our Civil War is justified in this context). He is unexpectedly accompanied by Ellen Kataja, an officer of the Central Detective Police, who originally came to Helsinki station only to warn the general about the assassination plan developed against him. which is to be implemented at the Tampere celebration. Kerava, Hämeenlinna, Akaa – the train stops at the stations of the main line, but Kataja just doesn’t get off the bus, even though he has planned to. Mannerheim has become interested in this emancipated woman in more ways than just as a possible help in the release of her husband Oskar Kataja, who had been imprisoned in the turmoil of the Russian Revolution.

Even though it is only a four-hour train ride and a two-hour play, there is no rush to develop the relationship between Mannerheim and Kataja. Even with such a tight schedule, we viewers get to know an astonishing amount about the past, dreams and fears of both the general and the judge with court training. Director Kari Rentola allows the duo to melt the ice from their hearts, to grow closer in peace.

The Mannerheim dam will break first. The love flare is quick, even plain. A spoiler can be thrown here that anyone who waits with their tongue under their belt for yet another scandalous scene that tests Mannerheim’s sanctity will be disappointed. Carl Gustav is a correct officer and gentleman even when making love, and he doesn’t even take off his boots, let alone make fun of himself.

Diamond acting

The train journey is surrounded by flashbacks and parallel scenes of almost the entire assassination theme of the Troika novel, with its motifs and developments. Quite well, as it takes up about four-fifths of the novel. Those who have not read the book may find it difficult to keep up with the play, but nothing important to the story is left hanging in the air or unjustified. The culmination will be seen at the Civil Guard celebration, where the Punik killing troika will enter the implementation phase. I guess those who have read their history homework will no longer be spoiled by the news that the assassination will go wrong: the “murder Gustavus”/”butcher general” will survive. More interesting than the end result is why.

Apart from a slight gallop during the start-up phase, the Rentola’s steering is of consistent quality and calm. It gives Carl-Kristian Rundman (Mannerheim) and Sanna-June Hyde (Ellen Kataja), who play the lead roles, room to do their characters with the utmost care. It is a joy to follow the brilliant work of both of them, quite literally, because despite (or perhaps precisely because of) the fact that military correctness and conscious pre-feminism meet in the main pair, the dialogue is hilarious at times.

Mannerheim is a fairly frequently seen character on our stages. In this series, Rundman makes one of the most convincing and easily approachable roles. His Carl Gustav is both formal and wickedly snobbish as well as emotional and vulnerable. That is, human. Human.

Eero Saarinen as Chief of Staff Hannes Ignatius provides a nice counterbalance to the general’s rigidity. These two engage in captivating verbiage: the grumbling attitude of the Major General (an adjective for which there is no equivalent in Swedish, as stated in the play) is often second only to Mannerheim’s intelligent formality. And if the going gets tough, it’s the military rank that ultimately decides whether you’re right.

In what I think is the best stage production of Tervo’s novel of all time, the only thing that really bothers me is that the trio Rauno Ahonen, Leena Rapola and Risto Kaskilahti have been put to work on such a large number of roles. Some of it is still completely unnecessary popping in. I would have preferred to see them focused only on playing the punk troika and let a few other actors take care of the spectrum of changing roles.