Iloisiin kuulemiin ja näkemiin

Studio Pasila
Ensi-ilta 14.1.2008
2 h 15 min
31 e

Huom! Poistunut ohjelmistosta!

Director: Mikko Kivinen
Conductor: Lasse Hirvi
Set design: Antti Mattila
Costumes: Maija Pekkanen
Lighting design: Teppo Saarinen
Sound design: Ari-Pekka Saarikko

Cast:
Riitta Havukainen, Seppo Maijala, Kari Mattila, Eero Saarinen, Leena Rapola,
Antti Timonen, Hanna Vahtikari, Sami Hokkanen/Tuukka Leppänen, Pertti Koivula, Merja Larivaara, Petja Lähde/Tuukka Leppänen, Sanna Majuri, Emilia Nyman and Ursula Salo

and a four-piece orchestra

Galleria

Pukumies löhöilee sohvalla ja lukee lehteä, kun taas silmälasipäinen ja ruututakkinen nainen seisoo ikkunan takana ja puhuu vanhanaikaiseen mikrofoniin äänitysstudiossa.

Hymyilevä nainen sinisessä pilkullisessa mekossa tanssii kolmen valkoisiin smokkeihin ja punaisiin rusetteihin pukeutuneen miehen kanssa, jotka kaikki näyttävät iloisilta kirkkaasti valaistulla lavalla, jossa on sininen tausta.

Lavalla esiintyy neljä juhla-asuihin pukeutunutta henkilöä. Kolme valkoisiin takkeihin ja punaisiin rusetteihin pukeutunutta miestä seisoo, kun yksi kastaa siniseen pilkulliseen mekkoon ja punaisiin korkokenkiin pukeutunutta naista. Sininen näyttämövalaistus luo dramaattisia varjoja.

Pukumies seisoo kahden pöydän vieressä, ja kaksi naista istuu lattialla värikkäällä matolla. Toinen nainen juo kupista, ja toinen katsoo mattoa. Ympäristö muistuttaa vanhaa toimistoa.

Kaksi tyylikkäästi pukeutunutta naista laulaa mikrofoniin, toinen istuu ruskealla sohvalla ja toinen lattialla. Taustalla on kaksi ihmistä kasvot poispäin, jotka istuvat ja seisovat sinisen lavavalon alla.

Lavalla on viisi vintage-asuihin pukeutunutta aikuista, joista neljä seisoo retrosohvan takana ja on yllättynyt tai innostunut jostain kirjasta, kun taas yksi nainen istuu sohvalla ja katsoo heitä. Tausta viittaa teatteriesitykseen.

Kahdeksan ihmistä seisoo lavalla, jokaisella on mikrofoni kädessään ja he laulavat. Värikäs näyttämövalaistus ja savu luovat dramaattisen tunnelman, ja taustalla näkyy moderneja lavasteita.

Arviot

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Arvio

WINDS OF CHANGE AT YLEStudio Pasila’s new play Joyful Heard and Goodbye delights and delights as it follows the work of the Finnish Broadcasting Company’s fictional current affairs editorial team from the Olympic summer of 1952 to the present day. Audible excerpts from archive speeches, photographs and excellent journalist types make the winds of change tangible. The short scenes touches on, among other things, Armi Kuusela, the note crisis and the occupation of Czechoslovakia. Villages are emptied and people are flowing to Sweden and the south. The old Yle tries to be overly impartial, until a conscious female journalist (Leena Rapola) arrives there as well, and the familiar role models start to squeak.The most chilling phase comes at the end, when a young visionary (Antti Timonen) begins to train experienced journalists to be change-minded and innovative. Those who can’t keep up will end up on the hill. And soon the veterans confess their fall into resistance to change as if they were in a confessional.It is precisely this psychological crap that comes from all corners these days, and visionaries hovering above the implementation of the work churn out their abracadabra for a good salary. Perhaps there will come a time when it will be listened to with as much wonder as some of the play’s archival speeches. It is difficult to see the oddities of his time.The cavalcade of scenes in the play is occasionally interrupted by music. Many brilliant interpretations take you back to your own youth and student years. It’s amazing what kind of emotions familiar songs set in motion. The village road is quiet, the silver moon is shining, the chocolate heart is threatening to melt and you, you I love. Whose troops you stand with makes your own throat shiver and it’s almost five that I don’t get caught up in it.A charming and slightly sad evening. We Finns love loss and giving up – at least in music.

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From the radio, with love and with a little devilishness

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Arvio

There is so much to sing about

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Arvio

The rise and fall of radio The historical role of radio as an educator, news provider and entertainer can hardly be overestimated, and even the intrusion of television into homes did not noticeably shake the established position of radio. It was really only with the computer technology revolution of the 90s that the downhill slope in terms of content and values, which today is accelerating with frightening speed, began. Former radio editor and screenwriter Outi “Popp” Ahola has, together with historian Jukka Relander , written a slightly darkly humorous cavalcade of radio history, which at the same time, unsurprisingly, grows into a miniature history of social trends. It all starts in the Olympic year of 1952, in a time that was certainly no better than ours but somehow seemed more human. Through various historical key coordinates, one arrives at the end of the first act, which coincides with the end of the Kekkonen era, while the linear presentation in the second act, wisely, is abandoned in favor of a more innovative approach in terms of time. Our reflective everyday heroes are the wonderfully heterogeneous crew at the Päiväpeili editorial office, with Seppo Maijala’s cautious, but fundamentally humanistic, general as foreman and Riitta Havukainen’s hilarious hello as central dramatic catalysts. Antti Timonen’s intolerable “new age” figure, in turn, is an apt enough caricature of the parasites of modern society: the constantly restructuring consultants who rationalise away most things except themselves.

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SONGS FOR YLE AND KEKKONEN

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Throwing a bag of peas If you want to laugh and if you want to laugh at yourself, you should go to the theatre! This is the conclusion we came to when we made a theatre trip with our colleagues in honour of the spring. The topic was also so close to my heart that it really touched my skin. The Helsinki City Theatre’s stunningly fine musical play “Joyful Hears and Goodbyes” mirrors the colourful phases of the Finnish Broadcasting Company against the background of Finland’s recent history. Oh, the amount of laughter, humour and hurtful slurs! For those who are crazy about history, nostalgia hungry and fans of Finnish schlager music, the play is an absolute hit. Written by journalist Outi Poppi and historian Jukka Relander, the rejoicing is skilfully constructed. The history of the Finnish Broadcasting Company (YLE) and Finland is mirrored from the Olympic year of 1952 to the present day. The picture of the era is drawn with well-chosen auditory images and other archive samples, almost in the same way as in the Living Archive. From one decade to the next, they move on the wings of schlager music. The skilled actors directed by Mikko Kivinen click the last pieces into place. The event takes place in the editorial office of the Finnish Broadcasting Company’s Päiväpeili, the turmoil of which is followed from one decade to the next. The editorial office has a solid membership staff from the left, middle and right wings. Politically elected leaders lead and sometimes the stools change according to the political cycle. Permanence and traditional values in the editorial office are represented by the chief announcer Tyyne Kälpäkkä, whose squeaky dry appearance is not shaken by fashion trends and constantly changing economic cycles. In the background, the figure of the beloved and long-time announcer Kaisu Puuska-Joki looms. The work of the editorial office is done by a young summer journalist girl who has to wait for her permanent position decade after decade. The new era is represented by the “bunny generator” Nico, who takes over the space with a jeejee attitude when the traditional fortress of the Finnish Broadcasting Company is broken. There is a power struggle in the editorial office, the organization is constantly being revolutionized and people are being fired. Matrix models, centres of excellence and change training have been borrowed directly from the real life of the Finnish Broadcasting Company (YLE) and other modern companies. “Have you also participated in those therapy sessions where a bag of peas was thrown from one person to another in a circle and a circle game was played hand in hand when the resistance to change was broken?” we asked each other laughing at the end of the theatre evening. Quite a few were – and so were I. Although the characters and events of the play are strongly caricatured, the image in the mirror is in line with its model. It is truer than reality itself. And the Finnish Broadcasting Company is such an important and fine company that it is worth laughing at if it is done with warmth and good intentions, as in this play. We had a good laugh along – the entire Yle New Services Editorial Board – sorry, Centre of Excellence!

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Factual entertainment “from the news of the Finnish Broadcasting Company” The Finnish Broadcasting Company’s Päiväpeili (Mirror of the Day) is certainly our most listened to radio programme nationwide. It has made such significant communication history that the song play on the subject, written by historian Jukka Relander and journalist Outi Poppi , is justified. To top it all off, the play Happy Hears and Goodbyes , which was part of the Helsinki City Theatre’s diverse offerings, is a well-made, funny and at the same time factual overview of radio and music history. Director Mikko Kivinen was surrounded by many current and former radio voices or television faces at the premiere. Familiar names flash on stage, but as such, the staff of the editorial staff of Päiväpeili have been given completely new and imaginary names; There is familiarity in the characters, but not exactly one copied together. Maija Pekkanen’s costumes take fashion through the decades in style as a side story. The exemplary orchestra is conducted by Lasse Hirvi. As the main announcer, Tyyne Kälpäkkä (Riitta Havukainen) represents tradition in good taste as well as in her resistance to change. Nico (Antti Timonen) of the new era throws out his visions of the future from the reform manager’s bunny word generator with such power that even “the weaker ones are terrified” – and for good reason. Between the extremes, there is both a more radical and a more conservative editorial view. But the 50-year review, which begins with the Helsinki Olympics, provides a dizzying overview of the changes in radio communications and at the same time provides a nostalgic recap of familiar radio voices that are also related to the crises of our country or the world: “Here is Zahovalova, Prague” cannot help but be indelibly caught in the ears of every child who was already somehow conscious in 1968. Kekkonen is on board in the 1956 presidential election, the night frosts, the note crisis and even the CSCE. In the background, photographs of the hot names in politics alternate, both as horror brats of their time and as long-time favourites of novice politics. The play Joyful Heard and Goodbye gives a whole new part to the music of the time. Of course, there are numerous songs to be missed, but the extremely carefully and skillfully executed vocal parts make you sink into the theater bench as comfortably as possible. There are Toivo Kärki’s evergreens, there is the guttural cry of the years of the social shutdown of the 60s, the punk era with Eppu all the way to Ultra Bra. One of the most astonishing musical parts is the song Hetki lyö (Moment Hits), Kirka-inkarnaatio, interpreted by Sami Hokkanen . These singing actors are wonderful – thank you to the whole cast. Thank you, Mirror of the Day editors. Thank you, City Theatre, for making this factual entertainment available to us viewers now!

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There is so much to sing about The Finnish Broadcasting Company’s Mirror of the Day received the history to the great delight of the audience The Pasila studio offers a luxuriously extravagant and sublimely equal atmosphere. This time, however, it is not the Finnish Broadcasting Company (YLE), even though the audience is allowed to get acquainted with its “imaginary” editorial staff of current affairs programmes, but the Helsinki City Theatre. Theatre Studio Pasila’s new Finnish play Joyful Hears and Goodbyes, which is well suited to Theatre Studio Pasila’s entertainment-oriented programme, examines Finland’s recent past, and no small piece of the cake has been cut from it. Actually, the whole cake is on offer. The events span from the Olympic year of 1952 to the present day. Such a timeline makes one doubt whether the creators will be able to achieve anything more than the typical cavalcade. Outi Popp and Jukka Relander have succeeded in this by choosing the history of information and the Finnish Broadcasting Company in particular as their point of view. A large dose of historical reference points have been accommodated: Armi Kuusela, the death of Stalin , the note crisis, the occupation of Czechoslovakia and the OSCE. But above all, there is a comprehensive sample of different types of journalists and changes that have revolutionized the media field. The premiere audience included a large number of former and current Yle employees, and at least journalist Päivi Istala said that she recognized herself and several of her colleagues on stage. The role models of the journalists are not named in the play, and the characters are, of course, combined with traits from different people. Only the real names of the men in the management are used, and they only appear on stage indirectly. The sublime aristocracy of the 1950s is amusingly summed up in Riitta Havukainen’s serious, parodic interpretation of the sassy announcer’s wife, who has a great way of pronouncing names in a foreign language and a clear understanding of the rules of propriety. The journalists sitting at their desks in suits represent different party positions in the name of post-war equality, but they are also exhilarating character studies presented by Seppo Maijala, Kari Mattila and Jari Pehkonen. The task of the eternal summer reporter, played by Hanna Vahtikari, is to run around as a representative of the female gender to take care of the field interviews and make coffee.The social upheaval of the 1960s has a particular impact on gender roles. Leena Rapola’s new conscious female journalist takes off her bra and spreads her floral scarf on the floor of the editorial office for women’s nightly drinks. The breaking of Yle’s monopoly position brings a new character to the stage, an errand boy who rises to become a visionary of a new era in an instant, and who, played by Antti Timonen with energetic consistency, is downright chilling to watch. This is indeed where we have come! Old journalists, i.e. those who are not pushed into early retirement, are being turned into media personalities. There is also a musical play for happy hears and goodbyes. Fourteen schlager songs and other rock songs from different eras have been included. The wasteful impression of the performance is created by the large number of actors on stage. The songs are performed separately from the events in front of a curtain and by a really strong group. The appearance of Vuokko Hovatta on stage after the intermission makes the impression particularly luxurious. The connection between the songs and the events of the play requires its own reflection. The placement of the songs does not seek a direct donkey bridge from the characters in the story or world political events. It wasn’t until after the performance that I realised that it was the Finnish Broadcasting Company (YLE) that expressed itself through songs. So yes, the village road is quiet and the motorway is hot. The broadcast ends with a sing-along: I will protect you from everything.

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LISTEN, NOSTALGIA!

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