Review: Katto-Kassinen
Katto-Kassinen does things differently
HEY, WE’RE FLYING
When Katto-Kassinen flies onto the stage for the first time,
You can hear a delight filled with wonder. Theatre is wonderful,
Theatre knows how to fly!
Premiere on the big stage of the Helsinki City Theatre on Thursday
There is plenty for a child to see. There are great
actors, big Helsinki-like sets, relevant costumes, competent
band, movement, the magic of flying. To Astrid Lindgren’s book
is perhaps noisier and more fast-paced than a book with
time to create your own image, as a book should have.
Katto-Kassinen exudes that it has been made seriously. It has been considered what
the child viewer waits to see how to make him live inside the play,
to participate in it.
Even though the seven-year-old says during the break that Katto-Kassinen is not really
exists, during the show he is fully involved in the story and
On the side of Katto-Kassinen, a wonderfully self-centered happy rascal. Astrid
Lindgren had a special knack for creating anarchist characters that children
love, the kind that parents appreciate good behavior
are automatically suspicious. Katto-Kassinen does what a nice person does
The little brother is not allowed to do: mess up, play pranks, keep his head. What is it
more liberating.
The City Theatre’s working group has managed to postpone all of this
on stage.
Katto-Kassinen
does what it pleases
Does Katto-Kassista exist? That’s what we’re thinking about here. In the story, Little Brother is
lonely until Katto-Kassinen, who lives on the roof, appears as a friend to him,
A man flying with the help of a propeller in his prime. Other family – mother, father, brother
and sister – are messing around with their own and no one has time for Little Brother.
No one takes him seriously.
Katto-Kassinen does what he wants and Little Brother bears the consequences, because
no one believes that Kassinen exists. But at least Little Brother has
fun.
Eppu and Kurt Nuotio have dedicated a large part of their lives
children’s culture. Thank you to them for that. Kurt Nuotio’s experience with musicals
can also be seen in this play: music gives rhythm, role performances
are physical, even acrobatic. The whole is coloured by the target audience’s
respect. It’s great that the City Theatre is sacrificing a valuable
once again for families. Of course, even smaller-scale floor plays
are important and welcome for children, even shocking, but sometimes
A comprehensive experience with spectacular sets is in place at a time when
when children are used to visuals.
Caricatures
Enough
However, the beginning requires patience. The Youth of the Family (Antti Timonen and
Tiina Peltonen) even argues aggressively so that at the beginning of the play,
It even makes me anxious. It’s probably pretty real family life, but
The caricature of the characters makes it a bit strange. Mother (Aino Seppo)
is worried, but inert. The father (Matti Rasila) is also worried, but
busily absent. After a bit of a slow start, however, the play
becomes hilarious: it’s spectacular, the kids think it’s juicy
dialogue and thoughtfully made characters.
Little Brother and Katto-Kassinen are the big roles in the play and there is room for them
shades. Antti Lang is a sensitive seven-year-old Little Brother in his joy, sorrow,
in their amazement and gloom. Sami Hokkanen succeeds in a mischievous
in the title role. The play has a double cast and these roles are also played by
Antti Timonen and Eppu Salminen.
The other roles are caricature-like. Risto Kaskilahti lets Miss
As a ram, he unleashed his abilities as a bodily detachment, a farcical
as a reveler. The robbers know how to climb on the roof and the friends of the Little Brother are
followed how the children actually talk and move.
The children are a little disturbed by the fact that some of the characters in the play move around in different ways.
names like in a book. Salmon is Pässi, Peppa Pike and the Robbers are back
named.