Review: Mannerheim ja saksalainen suudelma

Theatre review: Mannerheim and the German Kiss is a performance of intense tensions

Helsinki City Theatre’s Mannerheim and the German Kiss is a performance of intense tensions, overt pomposity and harrowing contradictions. All kinds of smoothing and smoothing are completely alien to this whole. We are at the heart of open conflicts.

Asko Sarkola’s fine performance as a ruthlessly aware commander-in-chief will go down in the annals as a great man’s interpretation, which is built as a layered whole of tightly buttoned command relationships on the one hand, and personal feelings that vanish into nothingness on the other.

Natural self-esteem is emphasized by the upright appearance; Deeper credibility and personality nuances are specified and enhanced especially by all the situations in which the Marshal is seen outside the military hierarchy. Even drastic transitions are effectively realised in Antti Mattila’s handsome set design.

The extreme emotional and powerful nature of Kari Heiskanen’s direction stems directly from the reality that is illustrated by the events of the aftermath of the Civil War at the beginning of the performance and the situations that escalate moment by moment in the final sections of the performance. Electricity and charging are not missing from the performance at any moment. C.G.E. Mannerheim knows only one tense for war: the present tense.

Vakkuri first wrote a play, then a novel. The difference between the new novel and the play version that has now had its premiere is clear and telling. The theatrical performance brings almost 20 characters to the fore and at times even to decisive positions, but the novel focuses quite emphatically on Mannerheim and Aladár Paasonen.

It must be considered a weakness that in the lines, sloganism sometimes overcomes drama. In addition, many military personnel and politicians are so similar to each other that it is not always possible to perceive individual characteristics.

Fortunately, the Marshal is joined by a few bloody characters who carry the whole forward. Pertti Sveholm is crucial as Hjalmar Linder, why not also as Major Lehmus. Eero Saarinen is just as lush, especially as Field Marshal Keitel. Kari Mattila draws both von der Goltz and General Heinrichs naturally and without exaggeration.

Of Matti Olavi Ranin’s three roles, Colonel Paasonen is absolutely central, and Ranin builds him into a wise and even prickly critic of war events. Kirsi Karlenius’ Kitty is portrayed, especially in the second main episode of the performance, as a woman whom Mannerheim might have needed or deserved by his side if it had not been otherwise.

The final word on Mannerheim’s relationships with women has not yet been pronounced. Kirsi Karlenius’ Kitty is a telling line to a never-ending conversation.