Review: Mannerheim ja saksalainen suudelma

Living and impressive history – Mannerheim and the German kiss

Helsinki City Theatre’s new autumn play Mannerheim and the German Kiss focuses on two years of Finland’s fate, the years 1918 and 1944. It offers theatre-goers an excellent dive into the stages of Finnish history. Juha Vakkuri’s script focuses on the fateful, close relationship between Finland and Germany during the first decades of Finland’s independence. The perspective of the work is strongly understanding of the solutions of Finns. It is directed and adapted for the stage by Kari Heiskanen. A strong interpretation of Marshal Mannerheim as Marshal Mannerheim is played by Asko Sarkola.

Toni Haaranen’s functional video design provides a background and enlivens the stage interpretation so that even if the knowledge of history on the subject is a little more tenuous, following historical events on stage does not cause any problems. Thanks to the video and visual material and factual information that provides good background information on historical figures, the work and the characters open up to the viewer without any problems. The comprehensive and versatile programme edited by Tiina Björn provides the viewer with interesting background and additional information about both the events of the work and the historical role models of the characters.

Vakkuri’s work has just been published as a novel and has been dramatised for the Helsinki City Theatre’s Main Stage right away. The play’s approach to its subject is strongly historical and realistic. It does not start speculating, but is based on what is known about Mannerheim, his decisions and actions. The play offers a great perspective on its subject that provides background for decisions and solutions. To what Commander-in-Chief Mannerheim thought and felt when making decisions and what his motives were.

The play begins with a touching scene. We are in the spring of 1918 and on the land of the lord of the manor Hjalmar Linder (Pertti Sveholm) in Lohja. A group of Germans who have come to the aid of the White troops brutally execute the workers of their manor, who had just been released from the prison camp by Linder and who had fought on the side of the Reds. He manages to stop the execution. A little later, Linder’s newspaper article about the brutal aftermath of the war in Hufvudstadsbladet causes him to flee France. There he commits suicide in 1921.

The play unfolds like a drama documentary. The first half describes the events of 1918. The aftermath of the Civil War and the political and social formation of the young nation emerge in an interesting and vivid way. In particular, the book reflects on Mannerheim’s relationship with Germany and the presence of German troops in Finland.

The second half takes place at the headquarters in Mikkeli at the most critical moments of 1944, when the Soviet Union’s large-scale offensive is about to break Finland’s backbone. Even now, the book focuses on depicting the brotherhood in arms between Finland and Germany and the events that eventually led to Finland’s secession from the battle alongside Germany. The play depicts the personal relationships and dynamics of the headquarters under difficult decisions and pressures. Mannerheim’s thinking and his relationships with his subordinates at the headquarters take centre stage in the interpretation.

Antti Mattila has staged the work in an airy way, as if giving space to the actors. The text is now allowed to be heard and live. The central element of the set design is tables and chairs, around which Finland’s future form of government is discussed in the Senate as well as military tactical manoeuvres at the Mikkeli headquarters. The wood-panelled wall of the headquarters with its many doorways creates a strong epoch on the stage.

Even though women are now in supporting roles – as wives, mistresses, office clerks and Lottas – there are apt interpretations of the supporting roles. Kirsi Karlenius’ Miss Kitty Linder is touching, and Kaisa Torkkel in the role of opera singer Hanna Granfelt perfectly manages the gestures of an opera diva.

Asko Sarkola’s interpretation of Mannerheim brings a 19th-century aristocrat to the stage. He manages to build a noble, strong-willed cosmopolitan on the stage. Sarkola’s acting is even coolly understated on the outside, but it conveys the inner thinking of an officer who makes decisions in difficult situations. Sarkola’s Mannerheim is suitably sarcastic in places, but above all conveys the strong will of his role model. Sarkola also manages to bring out the more fragile sides of the ageing Mannerheim.

Pertti Sveholm is given the role of Hjalmar Linder as a realistically bohemian amusement who wastes his fortune on the smooth, and on the other hand, a boldly strong-willed nobleman who opposes the executions of the Reds. Eero Saarinen’s choleric Paasikivi and the Wehrmacht Field Marshal Keitel, who bursts at least as angrily, are well suited as interpretations of their role models.

Mannerheim and the German Kiss is an excellent description of two important times in Finnish history. The play successfully opens up and provides the contemporary audience with a background to Mannerheim’s work as commander-in-chief of the Whites, regent and commander-in-chief of the Continuation War. The drama works well and the interpretation also avoids the pitfalls of over-explaining or teaching the subject well.

Vakkuri’s script does not fall into excessive didacticism, and Heiskanen’s direction takes the interpretation forward with a good rhythm. The tempo is good, and there are no unnecessary downfalls. The tension of the play is maintained throughout and you can sense a distinct intense atmosphere from the stage. Eradj Nazimov’s sound design adds to the sense of drama and suspense and brings in the threatening soundscape of war.

Hopefully, the work will also be seen by those who are not so familiar with these stages of history.