Review: Fanny ja Alexander
Is this premiered work one of the most significant gems of theatre art that will be remembered in the future?
Is this premiered work one of the significant gems of theatre art that will be remembered in the future? In theatre history, works are always regularly included in the canon, which are discussed at length and, for example, theorized later in the case of theatre research.
One of the tasks of theatre is to reveal or mirror something about the prevailing society or its current and/or universal themes. At its best, the theatre can serve as a sacred place where people go to purify themselves and stop and enjoy art.
Is the task of theatre art to show something of the spectators’ own attitudes, thoughts, personalities or some other, perhaps blind spot that the viewer does not want to acknowledge as belonging to them?
In this text, I will discuss with you whether this premiered work is one of the significant gems of theatre art that will be remembered in the future. For example, I will go through:
- What kind of visual elements are seen in the performance
- How they intertwine with the story and the main characters
- How we humans are blind to a part of our inner self
The visuals of the performance are full of aesthetic harmony
The performance sucks the viewer in right from the start. The nature of theatre is made clear from the very beginning: not everything that happens here is true. When the big, heavy firewall rises and the entire large stage opens up to the audience, the experience is dizzying.The set design is versatile and surprisingAntti Mattila’s set design comes into its own on the big stage of the Helsinki City Theatre. Mattila’s analytical and perceptive dramaturgy in the staging, which is related to the fabric of the performance, touches and surprises.
The set design immerses and alienates at the same time.
The nested square rooms and walls in different circles of the revolving stage reminded me of a labyrinth where the characters in the story are trying to find a way out or a way to something – or perhaps they wander aimlessly there. On the other hand, the question arose, what is going on behind the scenes?
The aesthetics of the set are reminiscent of the stylised and meaningful formal language of Central European theatre, which is an essential link to the dramaturgy and direction of the entire performance.
Directing combines theatrical traditions PaavoWesterberg’s direction also reveals pieces of the world of Brechtian epic theatre: speaking directly to the audience and crystallizing and narrating events, the visibility of spotlights and the visibility of the work of the stage staff are means of Brechtian alienation.
On the other hand, the performance is close to a Wagnerian total work of art, according to which the performance strives to create a harmonious whole, in which each area overlaps with each other, and no attempt is made to alienate the viewer.
Westerberg’s direction is a masterpiece and it is a pleasure and a great honour to see such a WORK of ART on the stage of the City Theatre.You have to experience the performance yourself, because words are not enough to describe the theatre experience. Anna Sinkkonen’s costume design is particularly appealing and beautiful. The costumes emphasizing the bodies and the beautiful feminine dresses and skirts flattering the bodies were spectacular. The game of undressing could serve as a reference to the theme of the entire performance and open up a perspective on the world of Fanny and Alexander.
The overall look of the performance is of course influenced by the lighting design, which William Iles has masterfully designed. Light and white lights harmoniously illuminate the artists on stage. Especially during the second act, the play of lights and shadows together with the sets and the windows in them created magical images.
This theme is also well intertwined with how light and shadow are constantly present in us humans. By undressing, the costumes revealed how much we humans are willing to reveal that shadow or honestly examine it.
The beautiful and touching composition and sound design are by Sanna Salmenkallio. The soundscape heard in the work, the people walking in the labyrinth, the surrounding walls and furniture paint a picture of the universe that revolves around us constantly, and which each of us has the opportunity to influence.
Perhaps also an obligation?
The camouflage of the performance meanders from Jaana Nykänen’s drawing board. In addition to more traditional make-up, there are also more unusual masks, such as the spectacular make-up of dead twin girls.
Helsinki City Theatre’s Fanny and Alexander is a performance that words are not enough to describe. Even though the performance is long, three and a half hours with an intermission, you have to experience the performance yourself. The performance challenges the viewer’s senses in a way that leaves a mark on the viewer’s body.
Versatile acting shines on the big stage
Fanny and Alexander are played by the talented Elena Leeve and Olavi Uusivirta. In the sibling relationship between them, it was remarkable to notice how the closeness, gazes and contact created a “single unit” between them, which goes from one situation to another. It’s as if two people have become one.
There is some animalistic, primitive expressive power in Uusivirta’s performance, the brutality and directness of which perhaps stem from some deep understanding of humanity. Leeven Fanny is a little calmer and acts as a kind of mediator in the performance. However, much more is shown through him, for example, in the assault scene in the second act, Alexander’s pain became visible in Leeve’s work.
On the way home, I thought about what it is like and how harrowing it is to go into something so strong night after night. Maybe the actors have their own means…
The new relationship is not what it seemed at first
The mother of the children is played by Anna-Maija Tuokko, whose role work was admirable. How he transforms from a dizzying artist into a small, frail and submissive, but at the same time invisible actor who tries to change a situation that has become unhappy.
Eero Aho, who plays the pastor, embodies the power of evil and the ideology brought by religion, under the guise of which you can do anything. Religious love makes it possible to do violent things, because love is suffering.
Aho’s physical and sometimes frightening and barbaric acting also inevitably brings to mind topical themes, such as the initiator of the war in Ukraine. Or many other people from history who bow down to their own ideology. Can anything be done in the name of love?
The stage will feature many familiar actors and guests from the City Theatre, such as Rea Mauranen, Pekka Huotari, Santeri Kinnunen, Raili Raitala, Jari Pehkonen, Sanna-June Hyde, Veera Anttila, Helena Haaranen, Aino Seppo, Leena Rapola and Rauno Ahonen.
Of the supporting roles, Leena Rapola’s Justiina, whose physical expression was skillful, and Jouko Klemettilä’s convincing Isak Jacobi, who, together with Emmi Pesonen, commented directly on the events to the audience.
Emmi Pesonen’s Ismael brought magical moments to the stage, not least the last scene with Alexander, where they discussed who Alexander really is and what is going on inside his head. Was Ishmael a real person, or was he the other half of Alexander, narrating the inner workings of the mind?
Towards the end, unity and the themes of doing things together were highlighted as one of the guiding themes of the performance.
Even if people run and go about their lives like a labyrinth or a video game, mindlessly trying to move forward, become a better person, or hide their own shadows, it never takes away the fact that without other people, we can’t see them.
We need mirrors around us so that we can see into ourselves
Without community and connection with other people, there is no balance. The final scene of the play took place around a huge round table, which was a large white cloth that each actor held on to to keep it in the shape of a table.
We all have our place in the world and we are all needed, because if one actor had released his grip, the table would not have been complete.
The scene at the end also reminded me of the universe: we should all care about our own contribution to the world as much as the actors cared about keeping the table upright.
At the beginning of the performance, Fanny told how their family celebrates together and one evening includes joy and laughter, arguments and disagreements, but at the heart of it all is a culture of agreement. Even if you disagree on things, the dialogue remains.
Is this premiered work one of the most significant gems of theatre art that will be remembered in the future?
I claim that it is.
The Helsinki City Theatre, the entire working group and director Westerberg have created a whole that twists the viewer’s mind and turns their path in a new direction. On the big stage, we will see a work of art whose components are in a harmonious relationship with each other and whose message is universal.
The work evoked emotions in me: tears and laughter, fear and despair, excitement about how everything will end, and feelings of faith and hope. In other words, everything that human life is.
At the same time, it is easy for me to identify with Alexander’s mindset, which is imaginative, open and free, as well as well-intentioned, perhaps a little naïve.
I stared incessantly at the events on stage, the long scenes were ingeniously paced so that time flew by. During the first act, I wondered out of curiosity what time it might be, but I didn’t watch it. When the intermission began, an hour and 50 minutes had flown by. So don’t be intimidated by the long duration.