Review: Kohtauksia eräästä avioerosta

Serious ingredients, but…

SHARP COMEDY BITES BEST

It was good to see real room theater again! Although the genre is old, Scenes from a Divorce is a modern play. And even though it was born far away in Australia, it talks about things and attitudes that few people here on the northern side of the world have been able to avoid. It is an analysis of a marriage, how it is leading to divorce, even though neither of the spouses really wants it to happen.

What makes the text and implementation interesting is that the problem gets many ways of looking at it. In addition to the couple at the centre, not only their close people but also playwrights take a stand in independent sections. It is surprising that the authors’ perspectives do not differ much, they do become more precise and sharper when a female writer – Hannie Rayson – gets her turn.

The set design fits perfectly with the direction. Frej Lindqvist carries the narrative in a cinematic way, or perhaps more like a fencing match. With all the senses alert, you follow your partner’s reactions, dodge skillfully and prick at lightning speed… The revolving stage supports precisely timed cuts of episodes; the shine of metal, the clarity of geometric shapes, the color white, the brightness of the stage image… When people tear each other apart in a civilized way, the façade does not fall, but tragedy is still mercilessly present.

In a family business, work and home matters are mixed. Mathew Molyneux is a second-generation book publisher. He runs the company together with his brother Darcy, and his wife Tina also moves from the role of a housewife to the publishing house. Margaret Molyneux, the boys’ mother and Tina’s mother-in-law, is in a way also part of the equipment – in memory of the old days. Other key figures include the young editor Siobhan, Tina’s sister Sarah, and the well-known politician Laurie Clifford, who is of “biographical age.”

The woman – Tina – craves affection and attention, but despite her pleas, she does not manage to convince her husband of the reality of her needs. The everyday life of marriage is overwhelming. By chance, Tina then meets her understanding, falls in love with another man. And Mathew doesn’t stay to call the magazine either, offended and encouraged to take a leap aside. However, after the “test”, the couple would still have the prerequisites and desire to continue their marriage. How it will turn out will not be told to future viewers here.

The play asks why the spouses don’t really listen to each other. It sheds light on fears, trust and loyalty, and reflects on how ready people are for a big change. It always hurts those who are faced with a choice, no matter what they do. Anyone who is able to break down security structures must be very strong and secure. Especially when it requires suppressing the remnants of love that are still attached to the past. The problem is familiar, the solutions are swirling in the current time with the behavioural models it enables.

The way in which a marriage that has reached a critical point is discussed is anything but heavy and embarrassing for the theatre audience. There is so much comedy loaded into it that the contrast works as an effective lightening – without watering down anything.

The real dynamo in the team is Leena Uotila as Margaret, the widow of a menomono man – a button role for this great comedian. The lines are precisely timed and precise. The single sister Sarah, glowing with joy and warmth, is played by Anitta Niemi.

Carl-Kristian Rundman in the second lead role is charming, even though the sympathies of many female spectators in this match fall on Tina’s side. As interpreted by Rundman – as an established husband – Mathew is an excellent potential adulterer. Tyrky has a suitably attractive-looking young lady, Siobhan, who is spurring in the publishing industry, and Sanna-June Hyde, who is a fresh replica in the role. Another of the brothers, Darcy, is also interested in the girl, an old man and an openly ladies’ man. Oskari Katajisto’s framework is well enough for this task.

Jonna Järnefelt is beautiful, smart and unhappy as Tina. However, the role model is not very grateful in its cramped space. It only gives looseness when Laurie comes into the picture. That’s when Tina blossoms. And Järnefelt invests in this charm intensely and credibly in his expression.

Lauriena is Pekka Laiho, who probably has a built-in charm.