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Huom! Poistunut ohjelmistosta!
Cast: Rauno Ahonen, Lari Halme, Riitta Havukainen, Sami Hokkanen, Jonna Järnefelt, Jyrki Kovaleff, Jari Pehkonen, Pihla Penttinen, Matti Rasila, Sanna Saarijärvi, Pertti Sveholm, Leena Uotila, Tom Wentzel
Translation: Esa Adrian
Director: Tamás Ascher
Set design: Zsolt Khell
Costume: Györgyi Szakács
Lighting design: Risto Heikkerö
Sound design: Mauri Siirala
THE EXTREMELY COMIC AND THE TRAGIC MEETIvanov, which can be seen on the small stage of the Helsinki City Theatre, is theatre created with solid professionalism and a deep understanding of the human mind. Hungarian Tamás Ascher’s direction of Anton Chekhov’s first full-length play stands out in the City Theatre’s repertoire as strong and visionary. In Ivanov, the relationships between people and the intricacies of the mind are tuned brightly, and a loud laugh is replaced by a burst of tears in the blink of an eye.Chekhov’s lesser-known early work is flowing in its speech, sparing in its emotions and even unpolished. That makes Ivanov no less interesting than the author’s four classics that have risen to world fame.
Lue lisääCHEKHOV’S IVANOV ASSURES Anton Chekhov’s plays Seagull, Uncle Vanya, Three Sisters and Kirsikkapuisto belong to the the basic repertoire of theatres around the world. Now Helsinki City Theatre Ivanov, which premiered is Chekhov’s first long play. Right from the start, there is I have to say that the choice is good and it only gets better when The director of the play is One of Europe’s most in-demand instructors, who are especially known for their Chekhov’s connoisseur.Events of the play will be located in Russia for one to follow the life of the village community, where personal relationships are, like Chekhov, strongly present. Ivanov’s life doesn’t slip and he feels like he’s failed and to be outsider. In marriage, there are problems and Ivanov enjoys evenings in social circles, although There, too, he knows himself outsiders. The play The narrative starts right at the beginning in an interesting way and takes you away from the first few minutes and this voltage lasts for more than three hours – and a four-act – performance I’m driving the viewer in his grip. At least I did.Director Tamas Ascheria Not for nothing is recognized as one the best of Chekhov’s interpreter around the world, so interesting are his Many control solutions. Personnel guidance is accurate – well precise – and there’s something happening on stage much separately and equally time. Guidance is calm and the events are internalized by the viewer in the right order, keeping the interest from the beginning to the end. Zsolt Khellin’s production is A great solution with high boards fences and as if the impression of a hall would not immediately fit, but not for a moment when you realize how well the staging supports the course of the play. Risto Heikkerö’s lighting design is continues the excellent set design and inventive line. A great play also visually.It was a great feeling after the performance after that something like this you get to see something like this – I liked it very much and it is The play I want to see again.
Lue lisääTRAGIC AND FUNNY CHEKHOVHe would like to go to the theatre, but his wife likes serious, while his own preferences lean more towards comedy. What to do?No problem. You should head to the Helsinki City Theatre to see the Hungarian Tamás Ascher’s take on Chekhov’s debut play, Ivanov. Ascher finds plenty of laughs in the tragic story, sometimes even jumping to the side of farce.The actors are also “guilty” of having fun. When Leena Uotila, Riitta Havukainen, Pentti Sveholm, Eppu Salminen and Lari Halme are allowed on stage at the same time, comedy is almost forcibly created, even though Rauno Ahonen , who plays a strong lead role, does not smile much.However, the jumble of styles does not matter, as it smoothly brings Chekhov’s debut play into the modern age. The problems of human life have not changed in 120 years. Ivanov surprises even a viewer who has seen The Seagull, The Cherry Orchard, The Three Sisters and Uncle Vanya to the point of boredom.
Lue lisääRUSSIAN MELANCHOLY AND JOIE DE VIVREThe guests of Surotska’s 20th birthday party yawn with boredom when Nikolai Alexeyevich Ivanov and his uncle, Count Matvei Semyonovitch Sabelsky, make a spectacular entrance to the party. In the blink of an eye, the women in their floral dresses start pooping and cheating, the grumpy waiter carries tea for the newly arrived guests and the men tell the story.Suddenly, the cottage of the chairman of the municipal board, Pavel Kirillyts Lebedev, is bursting with Russian joie de vivre, laughter and sweet mishmash.
Lue lisääANTON CHEKHOV’S WAX MUSEUM IS BOILING Hungarian master director Tamás Ascher turned Ivanov into a new positionIn the Helsinki City Theatre’s repertoire, this performance is a bright gem, a classic, but not a classic. On the contrary, the Hungarian Guest guidance by Tamás Ascher Anton Chekhov’s Ivanov erases the clichés of the Chekhov tradition with a big broom. It will be clean.We see a drama that tears apart to comedy, chillingly rough and direct. It is played out without lace lace, glass veranda or the nostalgic decadence of the rural nobility. The grand piano is also badly out of tune. The owl does not scream In the taiga of Central Russia, but in people’s heads. The garden of the Ivanov farm has changed Zsolt Khell’s staging as a yellowishly defeating and worn-out agency. For a moment, I even thought it remotely resembled the lobby of the City Theatre.Instead of the sun, pale fluorescent tubes hang from the ceiling. The furniture piled up in a stack is like from the corner of a flea market and, like the costumes and hairstyles, represents the different decades of the 20th century. Skilful light and sound work adds to the waxiness of the dead world.The tax and administrative officials in the play, the impoverished count or the country doctor have reason to be anxious. In this environment, not only Anna, who is dying of a lung disease, has breathing problems. There is no direction in life, and there is no beauty in love. They are overhuman, extra in their own lives and in each other’s lives. The direction draws very sharp and precise outlines for the play. The performance dismantles the characters’ dependencies into a grotesque circle game, in which the relationship between a man and a woman begins to resemble more August Strindberg’s relationship bitterness than Chekhov, which is usually read with empathy.The direction is so clearly thought out and sliced that the scenes are able to go from full laughter to emotionally cold cynicism without losing their logic! The milieu supports the aesthetics of horror and ugliness, which is also sticky to the human mind.One of the author’s early plays, Ivanov’s title character already bears the traits of his later uncles Vanya. He is many degrees more black and white and vicious, in this interpretation. Rauno Ahonen is the terrible Ivanov, Nietzschean gloomy, at the same time self-pitying and emotionally dead. Ahonen interprets the handsome arc from a nihilist who abandons his wife to a self-destructive penitent. The wedding preparations and death touch us in the same stage image. The visitor’s character direction has worked wonders in other ways as well. Tom Wentzel’s Foolish Count, Pertti Sveholm’s money-rich scumbag, Jonna Järnefelt , a pale abandoned wife, or Pihla Penttinen’s fast-paced young people are a delicious shot. The whole ensemble is like a group of crazy and helpless people gathered in a ragged family picture. Hilariously symbolically hits the essentials Matti Rasila as a servant rushing in through different doors, on whose silver tray nothing can stand.The director’s arrangement cleanses the emotional flow of the text. The whining for pity is minimized, and Ivanov doesn’t shoot himself in the end. He is suffocating in his wrong choices and in himself.We are very close, in the middle of Chekhov’s special ability to write a tragedy and call it a comedy.
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