Review: Mannerheim ja saksalainen suudelma

A Mannerheim of his own stature

Mannerheim and the German Kiss, written by Juha Vakkuri and directed by Kari Heiskanen, is a play that teaches history, provides experiences and raises national sentiment in a way that is suitable for the anniversary years of our country’s independence and the birth of Mannerheim.

Asko Sarkola, who has retired from the management of the Helsinki City Theatre, has returned to his home stage for the umpteenth time in the role of Mannerheim. He does it with respect for his role model, and when the going gets tough, he reaches a very independent decision-maker well. The play deals with the history of Finland and our country’s relations with the Germans from 1917 until the end of the Continuation War.

The central thesis of the play is the decision of the Finns, and often of Mannerheim himself, on what joint measures to take with the Germans and what to refuse. In the play, Finnish soldiers work out their own Finnish history under Mannerheim’s leadership. It digs up some things that we may not have known or thought about due to our general sense of history. Although a play is always a play, we can also rely on the author’s background information and conclusions. Of course, one play doesn’t say everything, it leaves and takes. The programme supports the structuring of historical events well.

The central role is played by Mannerheim’s relative, the master of Svartå Manor, Hjalmar Linder (Pertti Sveholm), whose newspaper article about the suffering of the losing party in 1918 is a cry for help. The richest person in Finland at the time is not the most heartless.
Along with the problems of Mannerheim’s marriage and his relationship with Kitty Linder (Kirsi Karlenius) also run along. These side themes appropriately expand on how Mannerheim, who finds himself in controversial situations in politics and the Defence Forces, is simultaneously forced to think about serious private life issues like other people. Fortunately, the play also remembers to lighten up. Some dual roles are not quite apt, but apparently necessary.

The video documentaries designed by Toni Haaranen set the pace for the events and are an interesting addition, not videos for their own sake. Eradj Nazimov’s sound design is powerful, at times creating a confusingly genuine feeling. Elina Kolehmainen’s costume design has been meticulous. The decorations in each outfit are correct according to the time. In the hands of the director, an impressive theatrical experience has once again been created.

Mannerheim and the German Kiss is perfectly worth a theatre trip planned from afar. The premiere was at the Helsinki City Theatre on 25 October.