Tragicomedy with a touch of magical realism
When Jenni Mäki finds a strange woman’s toothbrush in her bathroom, she finally has had enough and decides to leave her husband. The change in her life starts a process that allows Jenni to grow into a separate and independent woman – Jenny Hill.
The change is supported by thinkers, archetypes familiar from fairy tales, such as Cinderella and Rapunzel. “The play begins when a woman with a toothbrush in her hand falls into the abyss. The thinkers arrive to guide the way and help Jenny get back on her feet throughout the story,” says director Liisa Mustonen .
Jenny Hill is based on Minna Rytisalo’s novel published in 2023. Mustonen describes the adaptation of the play as more intense than the book:
“The book is broad and meandering. If it’s a waltz, then this piece is a tight tango or fierce flamenco. Finnish magical realism is influenced by Latinos.”
Growing into a separate self
Jenny Hill’s main theme – separation, separation, self-discovery – is painful, says Mustonen. “You could argue that Jenny changes from a victim to an actor when she takes an active act and leaves the relationship. He takes the steps from the eternal swallower towards the self-choosing actor with sharp teeth.”
Mustonen says that she takes on works whose themes touch her personally. In Jenny Hill, she was interested in the theme of separation and separation, which she considers to be the core current of human life.
Growing into one’s own separate self permeates the entire work. Jenny keeps thinking about questions such as: What does it mean to be an actor? How to express your own limits? How to recognize your own separation in relation to your loved ones?
In her previous life, Jenny has pleased others and tried to be less herself so that others would accept her. Now she has to practice meeting others in a new way, saying no and setting her own boundaries.
“The task of the Ajattari is to tune the frequencies and situations so that Jenny would learn to express herself, her needs, her emotions and her rage,” Mustonen says.
During the play, the thinkers also unravel the biases in their own stories, especially how they have been treated as passive objects and not as active agents throughout history.
Towards lightness
Even though the core of the play is painful, the form and rhythm of the play bring lightness to it,” Mustonen says. “The inner self is really tight, but it unfolds when enough expressive power is used, the situation comedy is seen, and the means made possible by the staging are used.”
The performance has situational comedy – the more recognizable the situation, the more it makes you laugh. “But there is no point in expecting comedy theatre from this work, as this is a snappy tragicomedy,” Mustonen points out.
Jenny Hill will also feature dance and elements of circus art. Mustonen will choreograph with circus artist Matleena Laine , who is responsible for the circus parts of the performance.
In contemporary circus, Mustonen is fascinated by how space and forms are tied together in a holistic way in terms of movement and visuals. “I’ve tried to work with the concept of theatre, so it’s wonderful to be able to continue it and learn more from Matleena,” she says and thanks the rest of the working group.
“There are wonderful actors and a great team of designers: set and costume designer Anniina Nevantaus, lighting designer Kari Leppälä and sound designer Eero Niemi.”
Mustonen says that the performance can give you a cathartic insight when you recognize the change taking place in Jenny.
“When life opens up, the heels start to rattle and you recognize your own power. The core topic hits us all, because anyone can make a change in their own life, as long as they take a step away from ‘surviving’, dodging and really dare to face themselves and other people without diminishing themselves.
Text Ida Henritius