Rebecca

Suuri näyttämö
Ensi-ilta 28.8.2008
approx. 2 h 40 min
Stalls 49 e

Huom! Poistunut ohjelmistosta!

Cast: Kari Arffman, Anne Carlsson, Helena Haaranen, Riitta Havukainen, Markku Huhtamo, Petri Johansson, Juha Jokela, Mikko Jokinen, Emmi Kangas, Kirsi Karlenius, Mika Keitel, Ilkka Kokkonen, Tuukka Leppänen, Petja Lähde, Sanna Majuri, Sari Ann Moilanen, Eeva Markkinen, Teemu Mustonen, Unto Nuora, Emilia Nyman, Lasse Pajunen, Tiina Peltonen, Matti Olavi Ranin, Matti Rasila, Gary Revel, Maria Saivosalmi, Katja Sirkiä, Maija Sydänmaanlakka, Antti Timonen, Marjut Toivanen, Leenamari Unho, Sami Uotila, Kirsti Valve, Mikko Vihma, Toni Wahlström

Translated by Liisa Ryömä
Director: Kurt Nuotio
Conductor: Henrik Wikström
Choreography: Osku Heiskanen
Set design: Katariina Kirjavainen
Costumes: Sari Salmela
Lighting design: Mika Ijäs
Sound design: Eradj Nazimov, Seppo Myllyrinne

Galleria

Suuri oranssi R-kirjain valkoisin isoin kirjaimin kirjoitetun sanan REBECCA yläpuolella, jonka alapuolella lukee MUSIKAALI, tummalla, savunsinisellä taustalla.

Vintagepukuinen nainen istuu kahvilan pöydässä croissantin kanssa ja keskustelee pukumiehen kanssa, jolla on kädessään sanomalehti. Muut aikakauden vaatteisiin pukeutuneet ihmiset istuvat ja keskustelevat taustalla lavalla.

Teatterin näyttämölle on asetettu kalliomaisemat, pieni puinen hökkeli puujaloilla ja dramaattinen sininen valaistus. Useat aikakauden pukuihin pukeutuneet näyttelijät pitelevät soihtuja ja kokoontuvat ryhmiin, mikä luo jännittyneen ja dramaattisen tunnelman.

Näyttelijöitä hämärässä näyttämöllä, jossa on dramaattinen punainen valaistus, jotkut juoksevat ja toiset seisovat, kun kirkkaat liekit palavat taustalla portaikon ja pylväiden takana. Kohtaus vaikuttaa jännittyneeltä ja kaoottiselta.

Pukumies halaa tiukasti pelästynyttä naista, kun liekit palavat heidän takanaan lavalla. Taustalla seisoo useita muita juhlapukuisia ihmisiä, joista jotkut näyttävät huolestuneilta, dramaattisessa, savuisessa kohtauksessa.

Mies ja nainen jakavat intohimoisen suudelman dramaattisessa näyttämövalaistuksessa, ja mies pitelee hellästi naisen kasvoja. Molemmilla on tummat takit, ja tausta on pehmeästi valaistu sinisillä sävyillä ja sumulla.

Kaksi pitkiin takkeihin pukeutunutta ihmistä syleilee dramaattisten valonsäteiden alla pimeällä, sumuisella näyttämöllä, mikä luo tunnelmallisen ja tunteikkaan tunnelman.

Lavalla hymyilee esiintyjä, jolla on hienostunut valkoinen peruukki, jossa on punaisia höyheniä, ja joka on pukeutunut yksityiskohtaiseen aikakauden pukuun. Muut esiintyjät, joilla on samanlaiset koristeelliset asusteet, hämärtyvät värikkäässä taustassa.

Valkoisen ja ruskeankeltaisen puvun ja suuren höyhenpäähineen omaava esiintyjä pitää lasia ylhäällä ja hymyilee lavalla muiden puvustettujen näyttelijöiden ja dramaattisen valaistuksen ympäröimällä näyttämöllä.

Beigeen pukuun pukeutunut mies suutelee intohimoisesti vaaleansiniseen mekkoon pukeutunutta naista ja nostaa hänet maasta, kun he syleilevät hämärästi valaistulla näyttämöllä.

Tummaan pukuun ja röyhelökaulukseen pukeutunut nainen pitelee nenäliinaa ja vaikuttaa näyttämöllä tunteelliselta; hänen takanaan on heijastettu kuva pitkämekkoisesta naisesta, joka seisoo kädet ristissä ja katsoo eteenpäin.

Lavalla esiintyy kolme näyttelijää; argyle-paitainen mies seisoo pöydän ääressä, jossa on shakkinappuloita ja viiniä, vaaleanpunaiseen hameeseen pukeutunut nainen istuu pitämällä kättään suullaan, ja toinen mustapukuinen nainen seisoo kädessään klarinetti.

Dramaattisessa lavastuksessa on kaksi näyttelijää, suuret portaat, metalliportit ja ylimitoitetut punaiset kukkatarvikkeet tummalla taustalla, jota valaisee teatterivalo.

Kaksi naista näytetään dramaattisessa valaistuksessa; toinen tarttuu toista takaapäin ja pitää asetta tämän kaulalla. Edessä oleva nainen näyttää ahdistuneelta, kun taas tausta on kirkkaasti valaistu oranssin ja sinisen sävyin.

Lavalla poseeraa nainen, jolla on hienostunut valkoinen puku ja pitkä, höyhenpeitteinen peruukki, ja hänellä on lasi kädessään. Häntä ympäröivät muut esiintyjät, jotka ovat pukeutuneet koristeellisiin, 1700-luvun tyylisiin pukuihin dramaattisen näyttämövalaistuksen alla.

Joukko trenssitakkisia ihmisiä pitelee taskulamppuja ja elehtii vilkkaasti pimeällä näyttämöllä, kun taas vaalea takkiin pukeutunut nainen seisoo yksin etualalla ja katsoo poispäin ryhmästä.

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“What was the secret of Manderley?” This was written on posters along the streets in 1940 when Alfred Hitchcock’s thriller Rebecca premiered. It was his first Hollywood film and won the Academy Award for Best Picture. The film was based on the novel of the same name published two years earlier by Hitchcock’s compatriot, the writer Daphne du Maurier . Dame set the story in her beloved Cornwall, where she herself lived and wrote. In the novel, Manderley has a mansion there. Now the book and film have been turned into an international hit musical, which will soon also be performed at the Helsinki City Theatre with Finnish actors. The premiere of the melodrama on the big stage is on August 28. The musical has the interesting feature that Rebecca, mentioned in the title, does not appear on stage once. She is the hero’s previous wife, who died young, and the new young man compares himself to perfection. It is a pure-blooded gothic story. Entertainment novels that mix romance and suspense were still the most popular reading among American housewives in the last millennium. So what makes Rebecca’s story gothic? Well, it has all the key features: a dark, mysterious mansion; forbidden room; a young, beautiful and naïve heroine; and a more experienced, handsome and wealthy hero. The hero, who is older than his spouse, has a somewhat murky past, and he makes the heroine’s heart beat with both love and fear. Like straight out of the Brothers Grimm’s fairy tale Bluebeard!

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Jännityselokuvasta teatterinäyttämölle KUUMAT PAIKAT

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REBECCA IS IN POSSESSIONThe Helsinki City Theatre has made a great start to its autumn season. Built for the big stage, Rebecca, based on the novel by Daphne du Murier, is a wild story about a woman’s fate with its ghostly elements. A musical thriller is not the most conventional theatre, but this choice is apt, downright needed. There is no silliness on stage, but there is enough love and plenty of costume glamour. The Rebecca story, made famous by Alfred Hitchcock, is a passion drama in which the secret of a closed community unfolds hinge by hinge. Burning passion licks innocent love like flames. The deceased lady of the manor continues to enchant the hostess, who is played darkly and coolly by Sari Ann Moilanen. Of the many wonderful songs, his handsomely interpreted title tune Rebecca predicts harrowing twists and turns. Moilanen makes his breakthrough role in Rebeca in other ways as well. Kari Arffman and Sanna Majuri are de Winter’s young couple. Manderley’s unhappy triangle drama changes characters, but the same inexplicable harshness of life only turns the side until someone has the courage to destroy the whole beastly state. Kurt Nuotio’s direction flows rhythmically well and improves towards the end. It was already known in advance that almost everything possible would be done on stage. Set designer Katriina Kirjavainen has taken stairs and fire technology as elements of her charmingly wild set design. With the lighting design by Mika Ijäs , the sound design by Eradj Nazimov and Seppo Myllyrinne , and the choreography by Osku Heiskanen , Rebeca is intertwined with a theatrical experience that can be seen and heard in the memory for a long time.Melodrama, which operates with tragic elements, is an amazing genre that is in danger of losing the balance of horror and lightness. The campfire has dominated the sport. When this is done in such a finished way, the viewer enjoys the symbiosis of horror and beauty. Rebecca is in control, even though Moilanen’s powerful interpretation echoes into the almost dark autumn night: “Rebecca, now where are you…”

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AN ENIGMATIC AND MAGNIFICENT SERENADE FOR REBECCACold shivers of infatuation wandered down her spine as Rebecca’s signature melody echoed for the first time during the evening. And when it was about to take off for the second time, the seating position changed from the back to upright, just like when an airplane landed. The atmosphere was just as tensely expectant.The stage is playing, the hall is playing, the back of my head is playing. The fatefulness intensified and intensified. Rolling music and an orchestra manned by leading musicians, with Henrik Wikström conducting “dramatic sticks”. Strong ensemble.Sari Ann Moilanen’s sensual, alternately dark, sometimes bright voice silenced the audience; The concentration was unusually coherent.

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Love conquers all I still remember the beginning of Alfred Hitchcock’s film Rebecca (1940): the ruins of the burnt Manderley mansion and the fog that covered all past suffering and guilt. The musical Rebecca, written by Michael Kunze, also begins, but after that, the viewer gets to enjoy modern technology, bold set design and catchy melodies.The musical Rebecca is a delight for the eyes and ears and has a firm structure. There is no dead end, even the choir’s songs move the whole forward smoothly. The story itself is complex enough to create good aftertastes. I think that Hitchcock and Daphne du Maurier, the author of Rebecca (1938), would also be satisfied with the musical’s Mrs. Danvers: Sari Ann Moilanen sings gallantly. Her role is also the most exciting in the story: Why doesn’t the mansion’s treasurer’s fervent worship and possessiveness break free from the deceased Rebecca de Winter?Moilanen’s Danvers features the grief and seductive evil of a person left with nothing in Rebecca’s death when she incites the young Mrs. de Winter to commit suicide. He also has a passionate love (perhaps also erotic) when he conjures up the dead Rebecca with his song. Kari Arffman performs his role well as a sought-after widower and an educated manor master. An interesting mystery in his case remains why Maxim de Winter once agreed to his loveless marriage. Why was family honor the measure of everything? The triangle drama also includes Sanna Majuri’s young lady de Winter: a woman who is subjugated at first but straightens her back when the truths are revealed, a loving woman who believes in the power of love. The major sings sensitively, and it is easy to believe him to be the saving angel of the story. Riitta Havukainen has a lot of fun as an upstart from the US. She is a good mix of self-righteousness, self-irony and intrigue (a woman should always take advantage of the opportunity). Antti Timonen Rebecca as a cousin and lover is a good earthworm, but the role still leaves him as a one-level villain. Special thanks go to the musical’s set design, which was designed by Katariina Kirjavainen. When the metre-high red orchid flowers fall from the ceiling like fabrics, everyone understands that it is a matter of passion.

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SPARKLE AND ELECTRICITY IN REBECCA THE MUSICALHelsinki City Theatre We have been busy with two musicals. If the Linnanmäki At Peacock until the end of September High School Musical to be performed represents the Yankee line, Tokoinranta White The palace’s Rebecca belongs to the series more traditional stuff.English writer Daphne du Maurier (1907-89) Rebecca– The novel was published in 1938, and since then became world famous After Alfred Hitchcock made it – the very next year – the legendary his film adaptations.Jo du Maurier made his book also a theatrical adaptation, but The recent Finnish interpretation is based on At the premiere in Vienna, Austria, in 2006, German Michael Kunze and Sylvester Levay version.Cooperation between Kunze and Levay started when they got to know each other in the 1970s. in Munich at the beginning of the 1990s. The duo Other well-known musicals are, for example , Elisabeth, Marie Antoinette and Mozart. In addition, They are, sometimes together, sometimes separately and sometimes with others, made songs for world-class stars like Elton John, Julio Iglesias and Nana Mouskouri.40 songs in front of the audience Rebecca the musical rehearses familiar events about two in an hour and three quarters of an hour package.As many remember, Rebecca is the wealthy Briton Maxim de Winter’s late wife name. Kari Arffman’s suitable ambivalently played by Max remarry in Monte Carlo the loudspeaker he met and a wealthy American heiress the maiden who works as a companion . The role of the new wife charmingly does Sanna Majuri.However, the ghost of the ex-wife seems to be overshadowing the happiness of the couple. Rebecca’s memory is especially cherished by Treasurer of Manderley Manor Danvers Sari Ann Moilanen nicely interpreted.In the City Theatre’s interpretation charisma is enough for almost a part of the I’m not sure how to do it. Shouting Riitta Havukainen (in the premiere I saw) and Kirsti Valve (who was known as previously as Kirsti Väänänen) alternating with the American lady Van In the role of Hopper. Antti Timonen is a treacherous and nasty cousin Jack Favell, Sami Uotila Simple Ben, Toni Wahlström Farm Manager, Markku Huhtamo Colonel Julyan, and so on.The list of names could go on and on but let it be satisfied for the time being to highlight a couple of more recent name. In the role of the favelli, Timonen Tuukka, who alternates with Leppänen graduated as an actor only last year, but has been involved in many things. He will continue with the Lahti Cats, and other jobs have been Hairspray and Fake Bride in Helsinki and Piukat paikat in Lahti.Another new rising name is Seen in the role of Beatrice and music teacher from the Turku Arts Academy graduated Emmi Fabric. Kangas has recently created careers with good success also abroad.The City Theatre’s well-oiled Theatre Machine with an experienced director Under the leadership of Kurt Nuotio , the spectator’s place to forget in places Lost in a large group of songs slightly more mediocre songs.Orchestra conductor Henrik Under Wikström’s leadership, the wonderful atmospheres as well as Katariina Kirjavaise for many purposes changing staging solutions and Even Sari Salmela’s beautiful dresses. In addition, special mention should be made of the following: manor house burning scene in the final episode meager but impressive pyrotechnic effects. Rebecca the musical is like candy into the mouth of the spectator, the theatre magic in the eyes and a little bit too to the heart. Exactly what we do We are

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REBECCA TURNS INTO A HIT MUSICALThe musical Rebecca, a collaboration between author Michael Kunze and composer Sylvester Levay, based on Daphne du Maurier’s well-known romantic novel, is a major investment at the Helsinki City Theatre this autumn. Director Kurt Nuotio certainly does not spare the possibilities of institutional theatre, and Katariina Kirjavainen , who designed the set design, cannot be accused of unnecessary modesty in terms of stage design.

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Rebecca’s Long Shadow Daphne Du Maurier’s novel Rebecca was published in 1938. Two years later, Alfred Hitchcock made a film about it. Both were mega successes. The musical performed at the Raimund Theater in Vienna, which will be performed at the Helsinki City Theatre as a Nordic premiere, has achieved similar popularity. Rebecca has all the elements of a big story. It is a love story, a Cinderella story and a suspense play in which love, passion, betrayal, madness and misunderstanding are swirling. The title character, Rebecca , has died. The story centers on Maxim De Winter (Kari Arffman), his new spouse (Sanna Majuri), and Mrs. Danvers, the housekeeper of Manderley Manor, owned by De Winter, who worships the memory of the dead Rebecca in a spine-chilling way. He is the most memorable character in the novel and also in the musical. The role is played by the astonishing and charismatic Sari Ann Moilanen.

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REBECCA – TUNTEIDEN PALOA Helsingin Kaupunginteatteri jatkaa menestyksekkäästi upeiden musikaalien sarjaa. Syksyn musikaali Rebecca ei jätä ketään kylmäksi. Upea musiikki, erinomaiset laulajat ja upeat lavasteet. Kurt Nuotion ohjaus on onnistunut ja katsoja elää esityksen alun romanttisuudesta kohti dramaattisia synkkiä hetkiä ja siitä loppuhuipennusta kohti. Juoni on lyhykäisyydessään rakkautta, romantiikkaa, ja menneisyydestä kummitteleva entinen talon emäntä. Soppaa sekoittaa taitavasti entisen talon emännän uskottu rouva Danvers (Sari Ann Moilanen). Kun talon isäntä, leskimies Maxim de Winter (Kari Arfmann) rakastuu palvelustyttöön (Sanna Majuri) ja vie tämän kartanoonsa ei tätä voi talon “noita” rouva Danvers mitenkään sulattaa. Alkaa jännittävä kissa ja hiiri leikki, jossa mustasukkaisuuskin sotkee nuorenparin yhteiseloa. Laulut ovat upeaa kuultavaa, tulkinnat erinomaisia ja varsinkin Sari Ann Moilasen tulkinta nimikkokappaleesta saa kylmät väreet kulkemaan pitkin selkää – jää tunne että Rebecca saapuu saliin haudan takaa, niin vahvana tulkinnan kokee. En malta olla mainitsematta Riitta Havukaista jonka osa on verrattain pieni, mutta lopputaputuksissa hän saa kuitenkin ansaitsemansa huomion. Helsingin Kaupunginteatteri on taas kerran osoittanut ettei kannata mennä merta edemmäs kalaan. Maailman metropoleissa esitetään samoja musikaaleja kun Helsingissäkin, mutta kokonaisuus on Helsingissä yhtä häikäisevää katsottavaa kun missä muualla tahansa. Varsinkin lopun tulipalo, jossa koko näyttämö palaa on osoitus taidoista joita ei ihan heti nähdä.

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FAIRY TALE FOR ADULTS Rebecca is a grandiose and melodramatic musical. The story takes place in Cornwall, located in the southwest corner of England. There, at Manderley Manor, the young wife is tormented by the memory of her new husband’s late wife, Rebeca.The novel Rebecca took its author, Daphne du Maurier , to world fame. A year after the book’s publication, in 1939, Alfred Hitchcock made it an Oscar-winning film.Most of the acting performances at the Helsinki City Theatre are full tens. However, the main of the play is best remembered, Mrs. Danvers, who worships Rebeca’s memory. Sari Ann Moilanen’s wonderful voice and powerful performance chill your spine in just the right way. However, it is not entirely clear to the viewer what makes Danvers worship Rebecca so unconditionally. Some of the characters’ other exploits also feel inauthentic, such as the protagonists’ quick fall in love in Monte Carlo.The growth of the main character (Sanna Majuri) from a young, insecure fool to a wife who stands firmly by her husband’s side is wonderful to watch. Rebecca is a fairy tale for adults that contains unexpected twists, big emotions and burning sets. The biggest impression is made by the music that rolls over you with power and without flattening.

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THE MANSION OF GREAT EMOTIONS

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THE PERFECT WIFE MEETS A CROCODILE

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REBECCA OF STRONG WOMEN

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THE MANSION OF GREAT EMOTIONS

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BEAUTY AND THE BEAST + JANE EYRE = REBECCA Helsinki City Theatre knows how to create musical theatre with great emotions

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