Review: Albert Speer

Albert Speer is a professional

The main stage of the Helsinki City Theatre is covered with clichés. From the ceiling
red swastika flags are landed, thrown onto the screen
shock films from the concentration camps of World War II: naked shivers,
Jewish families awaiting execution.

The distressing, familiar imagery serves as a set for yesterday’s Finnish
premiered by British author David Edgar
Albert Speer.

The title character gives a theme for the entire play: did Hitler’s former liar
Minister of Armaments and trusted architect when he swore in after the war
that he was completely unaware of the executions of Jews?

I could have known, I should have known, but I didn’t
Speer’s famous defense was heard, which Edgar’s play
repeats.

The text is actually a thriller, a suspense play. The network around Speer
tightens, and eventually the truth is squeezed out of Asko Sarkola’s interpretation
out of the architect.

The play has been translated into Finnish for the City Theatre and directed by Kari Heiskanen.
He also plays the central role of Adolf Hitler.

The role is complicated, as the dictator is portrayed in a rather humane
light. It is easy to understand that young Speer is enchanted by Edgar and
Heiskanen’s Hitler. He is a fiery idealist, but he is also a
A great companion.

Heiskanen is skilled. His Hitler is credible and in some places
Understandable, but also shuddering, scary, wild.

Speer from Sarkola looks a lot like Sarkola. Humanity and
modesty in the role work emphasize one of the play’s themes: the moral
the possibility of dishonesty in all of us. Understated during the evening
threatens, however, to flatten into monotony. Could the role have been loaded
even darker shades?

In addition to Hitler, Speer’s struggle for conscience was mirrored by Pertti
Sveholm’s sure-handed prison chaplain and Jukka Voutilainen’s
interpreted by Speer’s close friend.

These four, Heiskanen, Sarkola, Sveholm and Voutilainen, are
The backbone of the City Theatre’s large-scale production. Everyone makes great
roles, even the understated Sarkola.

The fifth supporting element is Hannu Lindholm’s set design. From a large
The stage will be used to the fullest.

Edgar’s text is speech, speech, speech. Therefore, making it for a large
stage is challenging. Heiskanen’s direction is successful: the play is
In the midst of massive backdrops, intimate.

The speech lasts three hours, so Albert Speer is not a light package.
However, the intensity remains until the impressive end of the play.