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Fast-paced stage adaptation
a children’s classicKatto-Kassinen flies handsomely over the rooftops of Helsinki in a children’s play on the City Theatre’s main stage. The adaptation of Astrid Lindgren’s novel is a cool comedy for children and parents. The very youngest ones are unlikely to be able to watch a full-length play, but from the five years recommended by the City Theatre upwards, “the atmosphere is great”.It is very valuable that children’s theatre is made for the big stage. Katto-Kassinen is one of the cornerstones of children’s literature and deserves to be performed. Now, with good hopes, we can wait for the dramatizations of the next children’s novels with full resources.
Katto-Kassinen alternates between two crews. Sami Hokkanen , who played the title role at the premiere, is very Kassis-like, “suitably chubby” and fluffy. However, the Flying Man of the City Theatre is not quite genuine. Despite his remaining complacency, he has been scraped into a pleasant and friendly character. Lindgren’s Kassinen is actually quite vicious and reckless at times, and he has also been portrayed as such in Olle Hellbom’s classic film version. The adventures of Kassinen at the City Theatre are followed with fewer reservations than the novel, and it is probably the best solution for the play.Antti Lang, who played the role of the little brother, was the most natural and least exaggerated character on stage – a successful solution that is also faithful to Lindgren’s novel. After all, the little brother is an extremely ordinary boy, whose windows of the ordinary world are opened by Kassinen’s unrestrainedness.On the other hand, in the City Theatre’s play The Little Brother, however, the perspective remains thinner than in Lindgren’s book. The original Katto-Kassinen strongly deals with a child’s loneliness, insecurity and need for acceptance, as well as the importance of imagination – there are few books that so genuinely describe the world of a little boy. This dynamic is overshadowed by the brisk pace and stage acrobatics, and even though the live dogs on stage make any play better, the frame story of the puppy that the little brother desires doesn’t really take off.For this reason, the beginning of the play seems to be waiting for its right direction, which then soon flies in through the window. Kassinen takes the attention and the story with her, and the small and large audience enjoys themselves. Of course, this is also the basic purpose of a children’s play on the big stage, and it succeeds fairly. In the second half, the action picks up into fireworks of collisions, which lives up to the expectations set for a fun children’s theatre. Without reservation, it can be said that the long episode with the fart bag used by Kassinen and the nanny Pässi, caricatured in a wildly funny way by Risto Kaskilahti , is unbridled and brilliant comedy theatre. The basics make me laugh, that’s the truth.
The most important thing is that the target audience enjoys watching Katto-Kassinen . “Uh, either it’s over,” commented one little viewer on the premiere. “This was good. Will we come to the theatre again?”
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Hepul’s place A warning and a suggestion to all those who go to see the adventures of Katto-Kassinen on the big stage of the Helsinki City Theatre: no mascara in your face and you should pee at the last minute. I dare to recommend this, because it is a children’s play. Its second act is so wonderful that half the audience gets a kick out of it. The brats participate, shout advice on stage, stand up and giggle so that something is seriously wrong with the adult, unless the laughter disease is contagious. Oh, what a therapy session! It will be performed by author Astrid Lindgren, director Kurt Nuotio, musicians led by Tommi Lindell , set designer Katariina Kirjavainen and the entire cast. At the premiere, Sami Hokkanen flew around in Katto-Kassinen with the relaxed nature of a vintage, while Antti Lang fluttered in the pants of an 8-year-old Little Brother. The airspace may have been theirs, but the stage was Miss Pässi’s alias Risto Kaskilahti’s . His physical abilities and comedian’s talents are such that even an adult could have shouted bravo! standing.
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Katto-Kassinen does things differently
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KATTO-KASSI IS THE BEST THING TO LOOK AT AS A CHILDWhen Katto-Kassinen played tricks on her older sister and nanny, I felt a few decades too old. There seemed to be too much chasing, stalking and sitting on a fart bag. But when the hall full of children around me rejoiced, I had to believe that it was my fault. The only thing that helped was to become a child again, which, according to the testimony of the immediate environment, has never caused me any difficulties. It worked out well this time as well: when the parents still didn’t believe in Katto-Kassinen’s existence and thought he wasn’t in the room, I almost shouted along with the other children: “IT’S BEHIND THE DOOR”. Fortunately, Kassinen came out in time and I didn’t have time to join in the shouting. I would never have dared to go to the theatre again. Except for children’s plays. After finding the so-called inner child, I enjoyed Katto-Kassinen’s flying over the rooftops, his unrestrainedness and strange things, the mischief of unskilled robbers on the roof, the silly nanny and, above all, the cute real dog. In short, the play goes like this: the boy hopes for a dog in vain, he is replaced by a flying Katto-Kassinen, who does all the things he shouldn’t do, the nanny representing a stupid adult gets fed up with Kassinen’s tricks, as do burglars, and finally a real dog comes as a birthday present. Of course, it is nice for an adult to identify with this kind of Katto-Kassinen , which breaks all norms, but quite clearly this version of the play is aimed specifically at children. Acting can sometimes be cartoonish to an adult, but it seemed to correspond to the taste of the children’s audience perfectly. There was no end to the applause. And of course, Sami Hokkanen was a suitably boisterous Katto-Kassinen and Antti Lang was an excellently sensitive seven-year-old. The most insane was Risto Kaskilahti as the nanny Pässi. You couldn’t help but laugh at it.
Making for children has not meant compromising on spectacle, as Katariina Kirjavainen had designed a really handsome view from the rooftops of Helsinki at night.
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As a genuine expert in the field, the young gentleman Kaspian was able to tell in an enlightening way what the City Theatre’s novelty KATTO-KASSINEN felt like.
” That Miss Ram was a real ram….”
began to laugh, giggling at his Caspian review.
“He was fighting with Katto-Kassinen ….”
(followed by an expressive description of the fight scene with a full body!)
“Besides, that Kassinen flew RIGHT! Little Brother didn’t know how to do it, because he wasn’t like that…. That kind of thing…. well, it’s like Kassinen’s, but Kassinen carried it. And there were REAL clouds in the sky, too.”
The convincing story continues:
“The music was nice, when they all sang and then I could have danced, because it was so good. And those ghosts were pretty awesome and the thunder was just right… Something small could have made me scared.”
After the totem, Caspian continues:
“At first, I almost felt bad in the theatre, but when it started, it went so fast, because it was so good and even though it lasted quite a long time.”A MORE ADULT reviewer thinks that it is positive for the heart that such plays for children and families are made with real intensity, skill and care. An adult has time to follow the sets, lights and other technology in the heat of the events, and once again they were full of stuff in Kassinen . Like the whole atmosphere, functionality and sound reproduction.
The band gets full marks with it.After half-time, I started to laugh seriously and there was enough to laugh and cheer for even the most serious horn-player-chalky adult throughout the show.
Faithful to the personality of Lindgren’s original character, the play also had room for everyday applications, and may Katto-Kassinen fly over our rooftops for a long time, bringing pleasant and genuine pleasure and joy to Helsinki residents of all sizes.
(Of course, for others as well!)
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Karlsson flies over the roof of Helsinki
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In the lively company of Katto-Kassinen, anything is possibleHelsinki City Theatre’s Katto-Kassinen brings a magnificent spectacle to the stage.
Katto-Kassinen puts Miss Pässi’s nerves to the test.
Directed by Kurt Nuotio , Astrid Lindgren’s classic is admirably youthful on the big stage, and especially the teenagers in the family are genuinely angsty. On stage, we will see more and more amazing effects than each other, starting with the flying Kassinen, of course.
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Kassinen is good for the heart The Swedish psychologist and psychotherapist Elisabeth Cleve has said that the author Astrid Lindgren has helped children of different generations in difficult situations more than any other author. The characters she creates become friends and companions of children who read stories. For Astrid’s children, no situation is so difficult that they can’t handle it. They can do anything and create hope around them. It has a healing effect on children who are having a hard time. It also gives energy to others. Katto Kassinen is one of these characters: a confident dude who lives on the ceilings in his excitingly messy apartment, does what he wants and declares without batting an eye that he is the best Kassinen in the world, that he lives in the best house in the world, and that he is the best prankster and certainly just the right fat man. In addition, Kassinen knows what adults dream of: He knows how to fly and rise above petty rules and conventions. He applies good manners without inhibition and is self-centered and greedy. For me, the best and the most! However, deep down, she longs for a safe mother who would command and tap as a mother should.
Rules can be broken Based on the premiere, Helsinki City Theatre’s new Katto Kassinenis pure mental therapy. Especially for little boys, it should give joy, energy and confidence. The children commented on the events on stage without inhibition, and already during the intermission, the first little Kassinen was seen in the lobby taking flying laps with his arms wide open.
Staffan Götestamin In Lindgren’s play based on the book, adults are seen from the child’s point of view. The father (Matti Rasila) is busy and consistent, the mother (Aino Seppo) secretly caresses the Little Brother (Antti Lang) and understands his longing for the dog, the adolescent Big Brother (Antti Timonen) irritates unbearably and starves as much as she can, the sister (Tiina Peltonen) glows with her first crush and prefers not to see the Little Brother at all during the delicate moment. When Katto-Kassinen (Sami Hokkanen) turns into the world of Little Brother, who feels mistreated, everything changes: Little Brother goes on an adventure, learns that rules are made to be broken, and that there is nothing as fun as shooting down stupid things. Two robbers, Vilho (Matti Rasila) and Kolho (Juha Jokela), as well as Miss Pässi (Risto Kaskilahti), who has been hired as a babysitter, are involved in a special spin.
Acrobatics and speed The roles of Robbers, Kassinen and Pässi require acrobatic skills and quick legs. Kassinen and Pässi are also delicious guys. The latter has dimensions, some of which remain glimpses. For example, the rhythmic meatball frying was fun to watch. Humour is probably the kind that makes 4–10-year-olds laugh the most. Katto-Kassinen skillfully uses music, and the style ranges from calm melodies to wild rap. The Finnish translation of Eppu and Kurt Nuotio and the Finnish lyrics of Ilpo Tiihonen’s songs are skillful. You could also hear the lyrics of most of the songs.
Katariina Kirjavainen’s set design moves nicely above and on the rooftops, and the Cathedral with its domes is also in place. I’ve never seen a flying dog in the theatre before – on my lap, though. The applause was wild and if my ears didn’t fail, a group of children shouted “I like, like, like” and clapped their hands. And the momentum continued until the end: The actors came to the final bows dancing as the characters. It secured the joyful illusion until the last moments.
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Katto-Kassinen – the best in everything possible Katto-Kassinen is a boy who wants all the presents and candy for himself, throws toys around the county and whose self-esteem does not waver in the slightest. Indeed, it is difficult to believe in the existence of such a thing. Of course, the self-decorated penthouse and the propeller on the back as a means of flying add extra spice. The adventures of this hero of Astrid Lindgren have been written into a play by the Swedish writer-actor-director Staffan Götestam. On the big stage of the Helsinki City Theatre, this world’s best Kassinen delights his surroundings under the direction of Kurt Nuotio. Sami Hokkanen’s boisterous, outrageously self-righteous Kassinen appears to brighten up the life of the unfortunate Samu, who is simply called Little Brother. The little brother is played by Antti Lang, beautifully emphasizing the sensitivity and vulnerability of a little boy. However, they grow into a strength in the company of a new, energetic friend. However, the real joy on stage only breaks down after the intermission, when the story finds a more long-term plot and a charismatic counterforce. Risto Kaskilahti’s wonderful Elsa Pässi, who arrives to help with childcare, makes Kassinen and Little Brother join forces at their best. Even the good old fart bag makes you laugh longer than usual, but it turns out to be just a warm-up once you get to the meatball ping-pong match and the carpet whip chase. The re-education of an eccentric aunt is amazing well-paced slapstick at its best.
Boring little brother life The first half, on the other hand, could have been cut out of extras, especially since the performance as a whole lasts well over two hours. The beginning is largely just about introducing the characters and getting to know each other. At the same time, a few musical numbers are thrown in to cheer you up, as well as loose foolishness with props. Even with less, you might believe that the everyday life of a family with three children is not peaceful, and especially the life of a youngster with his mother (Aino Seppo), father (Matti Rasila) and early teens, big sister Pike (Tiina Peltonen) and big brother Poku (Antti Timonen), is not a treat. Everyone has their own schedules, and Little Brother often feels lonely and longs for his very own dog as a friend. Her friends, Nelli (Sanna Saarijärvi) and Kimmonen (Matti Laine), are not always happy either, especially when they don’t want to believe in the existence of a miraculous propeller-backed guy either. Excitement is brought to the first half by the robber duo, whom Katto-Kassinen and Little Brother find committing attic burglaries on the rooftops of the city. Vilho, who gracefully extends his ankle to ballet jumps and is played by Matti Rasila as a double role, and his clumsy partner Kolho, played by Juha Jokela, who experiences many miraculous rescues, bring physical humor to the stage, but the plot stub of watching the bandits’ gig attempt is poor.
Over the rooftops of Helsinki Katariina Kirjavainen has set and Sari Salmela has costumed the Katto-Kassinen children’s theatre with bright, clear colours, and the toy content of the Little Brother’s room is sure to make many people envious. It’s funny that Katto-Kassinen flies Little Brother recognizably over the rooftops of Helsinki, the green dome of the cathedral is a sure landmark. Juha Westmen’s lights create city lights and a wonderfully glowing blue evening sky on stage. The musical numbers composed by Georg Riedel, Staffan Götestam and Anders Berglund cannot really be called memorable or original, quite the opposite, but the orchestra conducted by Tommi Lindell swings well. In the second cast, Eppu Salminen flies as Katto-Kassinen and Antti Timonen plays the Little Brother.
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WONDERFULLY ANNOYING PROPELLER MAN
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JOY AT THE BUMPS
Risto Kaskilahti steals the entire Katto-Kassinen as Miss RamAt first, there will be almost endless bickering and arguing at the Helsinki City Theatre’s Katto-Kassinen . The family has about five different opinions on everything. I feel like home. Theatre should be different.Then Katto-Kassinen himself flies through the window. The little brother gets a supporter for his thinking. In fact, Astrid Lindgren has written two Little Brothers in her Katto-Kassis , true and hopeful. Katto-Kassinen himself represents everything that Pikkuveli would like to be. What seven-year-old wouldn’t want to know how to fly?At this point, the performance directed by Kurt Nuotio is refreshed, even though the flying itself is mainly about hanging from wires, despite the technical implementation that has taken a lot of effort.
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