Review: Kummitusjuna

We know how railways and especially long-distance trains have impressed filmmakers, for example. However, the first thing that comes to mind is that the “everyday sun”, the orange metro train sawing through the city, could also give off something mystical and a spark of art. But yes, this has happened. The younger generation of theatre people have shown their skills and courage. The Ghost Train is a terribly good musical!

Lauri Maijala and Sinna Virtanen have brought tragicomic destinies, alarming anxiety and frightening undercuts to the bar related to sexuality or human dignity to the stage. Looking at the whole thing with the glasses of black humor doesn’t bring a cathartic cleansing, but at least it makes it easier when you go from stop to stop. However, an essential part of the message is the contrast between the narrative and the music. The melodiousness, lyricism and swing of the melodies are apt to soften the action and provide the viewer with a gripping surface. Anna-Mari Kähärä and Jussi Tuurna are an excellent working couple, and their new musical theatre work is a handsome feather in both of their caps. The performance directed by Maijala is enjoyable to hear, thanks to the orchestra, the theatre’s vocal ensemble Ochetti and the soloists, all of whom work to the fullest and interpretively.

The encounter/non-encounter between nature and humans is the theme of the performance, which ultimately expands to people’s inability to establish lasting relationships with each other. Aspirations and dreams are not enough to structure reality. The longing exists, but the means to reach the goal are few, poor or questionable. A woman in love with a tiger can be seen as a symbol of the attraction of violence, a man who goes skiing in his breath can be seen as a symbol of addiction, and the pressure to perform as a boss who disrupts meetings. The elderly person is completely alone covered in snowfall. Even though at the end we go through a grey stone in the name of the Espoo track, the “ghosts” are at their most impressive at the beginning of the journey.

The entire stage sounds irresistible, and the soloist performances from end to end are finished. Perhaps the most memorable is the love song that took off from Korkeasaari Zoo, beautiful, beautiful – and cruel. Interpretation by Emilia Nyman and Tuukka Leppänen. And “crowd power”, on the other hand, works confusingly well, e.g. in black comedy dedicated to hedgehogs. In addition to those already mentioned above, a big thank you is due to Petrus and Sanna as well as Janne, Tiina, Ursula and Antti. Janne Vasama’s stage design is fairytale-like, down to the props, and the same man has also been responsible for the fine drawings of the script.