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Note: No longer in repertoire!
CAST
Reidar Palmgren
Ursula Salo
Milka Ahlroth
CONDUCTOR Lasse Hirvi
TRANSLATION Kirsi Kunnas
SONG TRANSLATIONS Liisa Urpelainen and Vexi Salmi
ADAPTATION Birgitta Ulfsson and Leena Fridell
DIRECTOR Birgitta Ulfsson
SET AND COSTUME DESIGN Ann Granhammer
LIGHTING DESIGN Mika Ijäs
MUSIC Erna Tauro (Pikku niin ja näin -kabaree), Cajsa and Niklas Román (Kuka lohduttaisi Nyytiä?)
“Once upon a time, little Dumpling was a dumpling, she lived all alone in her house, and the house was also lonely. So twice alone, scared, he lit the fire at night his lamps and crawled under the blanket to whine when he heard the pawing of the hemules on the road and the Groke was screaming in the dark there.” Tove Jansson’s book Who Would Comfort Nyyti? has been read through and I know it almost by heart. At the City Theatre’s Studio Elsa , Leena Fridell and Birgitta The fairy tale dramatised by Ulfsson bursts into life as endearing. It is also commendably sized for the smallest spectators, who may be the first times in the theatre. The performance lasts only an hour and a half, including intermissions. At first we will see a cabaret called Little So-and-So, where the actors will get to know each other, Let’s sing Moominworld songs and keep the lights on safely. Children are told that theatre is a place where adults can also play. A dream game is played as a model: a couple of little viewers tell their dreams and The actors act them out. The premiere needed, among other things, a nasty a mathematics teacher, a student and his or her eyes flashing on the floor, and a few ghosts. A risky section, but it worked well here and it was fun. Reidar Palmgren was the charmingly masculine Nyyti and Milka Alroth there the frightened Tuittu fluttering here. The narrator and the monster was Mari Vainio. A narrator is needed, because there are not many lines in the fairy tale. Songs complement story and everyone sings well. You couldn’t help but laugh when Nyyti stopped touring the grandiose world and was suddenly so impossible Brave that I couldn’t fit in my skin. The play Tuittu is braver and plot than in the book, he becomes interested in Nyyti in advance and as if surrenders to the rescue of a lonely troll. And the monster complains about the black gauze very chillingly, his loneliness too: “I’m looking for another monster, just as icy chilling.” Fortunately, Mari Vainio immediately shows the children that the monster was just a monster a gauze bundle that fits on your lap. The stage fairy tale lives on in Ann Granhammer’s simple and elegant sets. The colors are clear and the lights create a stunning starry night, silky undulating sea, sunrises and sunsets and the Spinning carousels. Who would comfort Nyyti? is very faithful to the book and tells an adult necessary thing: acknowledging fear and loneliness, About living through and overcoming. When two comfort each other, there is no longer nothing to be afraid of.
Read moreEven the Groke Needs Safety friends At the Helsinki City Theatre, such an amazing thing as Tove Jansson’s The Finnish premiere of the play. Jansson’s only play The Moomins in the Backstage is from 1958. Now the City Theatre is resorting to Jansson’s long-time friend Birgitta Ulfsson and brings up the story of Nyyti and Tuittu, two a lonely person in need of comfort. Ulfsson adapted Jansson’s picture book Who comfort Nyyti? originally in 1986 for the Folksteatern in Gothenburg together with Lena Fridell . Initially, however, it is proposed Based on Jansson’s poems composed by Erna Tauro , A little so-and-so cabaret. It deals with the magic of theatre, albeit more intimately and humanely than the one set in the world of theatre The Moomins behind the scenes. The actors perform little tricks and shine especially in sleight of hand. Skill is important, but the impression more important. In the cabaret, dreams are also told, but that’s left to it surprise. Birgitta Ulfsson is director has created a wonderfully warm and peaceful atmosphere for this time as well dive into Jansson’s world. Even difficult things are not avoided, but they are Let’s have the patience to meet calmly. Who would comfort Nyyti? is a proposal Important already in terms of atmosphere, let alone story. The World of Dumpling and Tuittu journey alone, is filmed on the wide stage of Studio Elsa, above all as an open position. Fears do not lurk in the environment, but live in the person itself. The stage is set up graphically and airily in the spirit of Jansson. Variegated silk fabrics are splashes of colour, which are conjured up to reveal the The heroes’ moments of happiness: the wavy sea and the meadow of flowers. Reidar Palmgren, who turns out to be a skilled interpreter of songs already in the beginning of the cabaret, the role of his life. Palmgren is downright timid and withdrawn as Nyyti paradoxically captivating. Bravely carrying his big bag from one place to another The load-bearing Nyyti has such clarity that the You can hear the gripping surface literally sucking the audience in. Nyyti’s song with fast With its laconic interjections, it is an absolute gem of the performance. Another mute moment is seen when Mari Vainio , who sweetly portrays the storyteller, wraps herself in black gauze and begins Mörö lamentation. The youngest spectators watched the performance seriously, but no one I didn’t notice that I was directly afraid. The songs performed by Vainio do not have it the boldness with which Petriikka Pohjanheimo treated Miisa opera parodies in the previous edition of the City Theatre Jansson investment. Milka Ahlroth’s the poetry girl Tuitu has the same unadorned immediacy as Palmgren’s In a bundle, even though the girl ends up hanging the beads around her neck when she gets space delicately feminine side. Ahlroth’s Tomittu Tuitu has an important but as a person, Tuittu is mercilessly overshadowed by Nyyti, despite the fact that the adaptation has increased his part in the story. The bottom line However, the performance has an overall spirit and atmosphere. The performance values the child and strives to create a real connection. Nothing is pushed, nor is it sell. It’s safe to be with Tove Jansson be.
Read moreDumplings comfort us Helsinki City Theatre: Little So and So Cabaret and Who Would Comfort Dumplings? Dramatization: Lena Fridell and Birgitta Ulfsson, translation: Kirsi Kunnas, direction : Birgitta Ulfsson, sets and costumes: Ann Granhammer, composition: Erna Tauro, Cajsa and Niklas Roman, conductor: Lasse Hivi, lights: Mika Ijäs and Vesa Ellilä, voice: Ari-Pekka Saarikko, cast: Reidar Palmgren, Mari Vainio and Milka Alhroth. Tove Jansson’s picture book Who Would Comfort Nyyti? is delightfully a melancholy tale of friendship or love, of timidity and fear, You can win when you open your heart and find a friend. It is visually A superior work with plenty to look at and explore for the little reader for many moments. And for the big one. From this story, Birgitta Ulfsson and her team have succeeded in creating Tove A play that looks like Jansson. The play is preceded by a fun interactive little cabaret in which Reidar Palmgren, Milka Ahlroth and Mari Vainio introduce and sing Erna Tauro familiar Moomin-themed songs. But they also discuss with child viewers put themselves on the line and improvise according to the children’s stories. They perform ingenious, even familiar, “magic tricks” in their simplicity. They are supported by two musicians. The most important thing is that they are fully engaged in doing what they do, asking, listen, interpret and check that it went right. They manage to capture everyone in the stands with tiny with improvised tableaux. It is due to the dedication of the actors and professionalism. An old acquaintance Nyyti The intermission is then followed by an actual play about the timid Nyyti. Here’s what we did: The night before, my daughter and I reviewed the story by reading a book about a long time. And now it hit me in a whole new way. Friendship and timidity for a six-year-old and fear are topical topics. So it was easy to follow the story in the theatre. But the play does not require work in advance. It works on its own, too. It worked so well for us that we had to read the book the same and the next again in the evening. Lonely Dumpling leaves her lonely house to escape the frightening nights. He goes around, tours, goes around the world, meets characters, but doesn’t dare to translate for them and especially not to open up the conversation. Eventually, he finds a message in a bottle, sent by an even more fearful and timid creature, Tuittu. Nyyti is interested and not least the fact that Tuittu is a girl. Nyyti leaves Tuitu search. Actors breathe life into life Birgitta Ulfsson has directed the world of sensitive seer Tove Jansson City Theatre. The set designer has respected the illustrations in Jansson’s book and I’ve been following it very closely. Even images are copied directly into the play book. The characters are also built following Jansson’s idea closely. Child recognizes the world of the book. Even though the author of this staging is largely the late Tove Jansson, it is brought to life by the actors. Reidar Palmgren is in his whole being timid, but encouraging little Nyyti. Mari Vainio is a storyteller who changes Snufkin would be intensely generous. Milka Ahlroth is more subdued as a serious Tuittu, more tearful as a cabaret singer. Ulfsson has directed his inventive in an amusing way and Ann Granhammer has set the Large and small elements of a toy trailer that look impressive in their simplicity silk fishing net. The colour scheme is gloomy, but it has colourful points. Nyyti’s story is not just a play for children. Its benevolent and warm The world creates a joyful yet comforting a calm mind. If you can’t go to see a children’s play otherwise, It is worth borrowing a child from somewhere as a theater company.
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