Review: Tiny Dynamite – Dynamiittisiru
True and magic captivating
Dynamite chip. Abi Morgan’s play at the Helsinki City Theatre’s Pasila studio. Translated by Anna-Elina Lyytikäinen and Heli Kivimäki, directed by Anna-Elina Lyytikäinen, set design and costumes by Jyrki Seppä, lighting by Teppo Saarinen, sound by Ari-Pekka Saarikko, music by Petri Lapintie and Ari-Pekka Saarikko. Cast: Jouko Klemettilä, Eppu Salminen and Merja Pietilä.
Abi Morgan’s Dynamite Chip, one of the sharpest young British dramatists, is captivating contemporary theatre. And there is no doubt that the text will be done full justice at the theatre studio Pasila. Anna-Elina Lyytikäinen’s direction is as tenacious as it is insightful, and the acting team lives the story with every fiber of their being.
***
It is a strange story. Mystical, joyful and sorrowful at the same time. It has the defiant tones of hidden sorrow. The dynamite chip contains light-hearted lines, and it asks a lot. It also corresponds or pretends to be equivalent. It argues and refutes claims and it works magic, because without miracles or hope for a miracle it is difficult to live.
It is a joint holiday trip of two young men. It turns out that they do one every summer. They’ve known each other since they were children, and as completely different as they are, it’s obvious that they’re quite attached and almost dependent on each other. However, agreeing to the addiction takes a toll, because something has happened in the young men’s lives that has led to that strange symbiosis. It is a law of cause and effect, with which these characters in the story either justify the twists and turns of fate or the significance of which they completely deny. They have developed it into a real mutual game. Is it a coincidence at all and what is the so-called? The role of free will in human choices?
***
Even if the reflections are partly profound, they are also largely quasi-profound, a way to provoke the other person into an argument. The dialogue becomes especially hilarious when there is a third person present who has their work cut out for them to understand the warmth of the conversation. However, the young woman in the story finds the situation she is attracted to and becomes a kind of lightning rod.
A good play always has its knots, and the secrets are not revealed without pain, but as a whole, The Dynamite Chip has the same kind of allure as New Year’s fireworks or a roller coaster. The gems of play have an edge of danger and speed.
***
Jouko Klemettilä’s Anthony’s childishness, expressiveness, lightness and pain are an irrefutably skilful interpretation, and his and Eppu Salminen’s interplay is seamless and enjoyable. Salminen’s Lucien has a concentrated mysterious power that could be called a subdued elemental force. Rippunen’s purple glow is brought to this painting by Merja Pietilä as the cheerful and empathetic Madeleine.
Jyrki Seppä’s set design invites you to a magic circle, which I believe young audiences in particular will seek out. The dance of the fireflies alone is worth seeing…