Review: Kloonit

Far-reaching, original observation of the wonderful technology of the modern world

The Clones is a philosophical-psychological drama written by Caryl Churchill. The play is based on the appeal of dialogue and two strong actors. It’s challenging not only for the actors, but also for the viewers – the hour-long Clones puts the grey brain cells to work with its opening lines and the flood of thoughts continues for at least the next day.

At first glance, the starting point may seem completely silly. The father, played by Tom Wentzel, wants to replace his lost son with exactly the same child. Scientists clone an innumerable number of sons, three of whom are encountered in the play: one has grown up with his father from the beginning, another has been abandoned as a child and is therefore bitter, and the third is pleasantly surprised to learn of cloning. Petteri Summanen plays a thrilling triple role when playing clones.

Cloning could be discussed from a scientific or ethical point of view, but Churchill forgets unnecessary moralizing and approaches the subject in a very humane way. The play states that 99 percent of human genes are the same as those of other humans, 90 percent are the same as those of chimpanzees, and 30 percent of our genes are the same as those of lettuce.

Yes, Churchill really forces viewers to think about how different everything could be. Since our genes are more or less the same, the significance of the environment to the individual must be much greater than is generally thought. Watching Summanen’s excellent performance, you can identify with clones as if by accident. It is startling to realize that each of us could just as well be a clone abandoned by our father expressing our bitterness on stage as we are now.

Clones, directed by Pentti Kotkaniemi, is certainly not a visual firework, but that’s not the intention either. With small gestures and facial expressions, both Summanen and Wentzel have created an interesting relationship drama in which the tempo picks up and the corners of the mouth turn upwards the closer we get to the end. Jyrki Seppä’s set design and costumes work well in their asceticism, and Teppo Saarinen’s lights and Ari-Pekka Saarikko’s voice complete the impressive whole. Kloonit continues at the theatre studio Pasila until 8 May.