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Koistinen and Meke work at a fast-food restaurant. Meke is a beginning burger-maker, while Koistinen has been at it for some time now. Meke must develop his mastery under Koistinen’s watchful eye to eventually rise from kitchen to cashier in the hamburger hierarchy. This is critical, as the two of them will probably be working in the burger business for the rest of their lives. If, however, exhaustion ends up besting the duo, they will be replaced by a new pair of Meke-Koistinens.
As indicated by the subtitle, author Okko Leo characterizes the work as a punk tragedy – an anarchic tragedy for a new era, in which the heroes are restaurant workers and where catharsis takes place concretely somewhere between the soft-ice machine and the toilets. It portrays Koistinen’s and Meke’s power struggle for burger-joint supremacy, at the same time reveals something essential about the careers of low-wage workers.
The perspective of the play is not patronizing, let alone pitying. By and large caricatures, the characters of Koistinen and Meke represent structures external to themselves, not the fast-food workers of the welfare state per se.
Text: Okko Leo, Director: Mika Leskinen
Scenography: Janne Vasama
Costume design: Sanna Levo
Make Up design: Leila Mäkynen
Light and video design: Tomi Suovankoski
Sound design and music: Jani Rapo
On stage: Juho Milonoff ja Niko Saarela
The roaring years after the French Revolution. On stage two grand world historical figures: Jean-Paul Marat, the hero of the Jacobins, and Marquis de Sade, a French aristocrat and disputed philosopher who borrowed his last name to sadism.
The fictitious rendezvous between Marat and de Sade is organized by the patients of Charenton mental hospital. They are preparing a play about Marat’s death and the historical circumstances that led to it. The play is directed by de Sade - who is a Charenton patient himself.
Accompanied by the merry pottering around of the patients, the play intensifies around the conversations between Marat and de Sade. Through deep talks between the two, the timeless text deals wittily and brilliantly with major topics: the tension between individualism and political activism, power and violence. Some attention is also dedicated to the justification of democracy and to the question of people’s role in democracy.
Three Finnish-Swedish theaters join artistic forces and create their own version of Peter Weiss’ (1916-1982) well-known play. The captain of the crew at the Universum Theatre’s stage is Juha Hurme, beloved theatre-maker, author and winner of the Finlandia Prize 2017. Hurme shakes the 1960s classic to a new, surprising position, but remains true to the original text in one essential point: music plays one of the main roles in Marat/Sade.
Director: Juha Hurme, Directors assistant: Meimi Taipale, Text: Peter Weiss
Visual Design: Raisa Kilpeläinen & Kalle Ropponen
Sound design and musicians: Martin Åkesson & Mirva Tarvainen
On stage: Paul Olin, Wilhelm Grotenfelt, Paul Holländer, Fabian Silén, Jon Henriksen, Dan Henriksson, Carl Alm, Alma Pöysti & Martina Roos.
Production: Klockriketeatern, Sirius teatern, Teater Mestola
Juha Jokela’s Esitystalous 3 – RADIO concludes the immensely popular Esitystalous (Performance Economy) trilogy. The play takes place at a radio station and offers, much like the earlier parts, an entertaining and sharp analysis of the present day.
Radio Stage is a local radio station founded in 2010 by the seasoned radio professional Jami (Martti Suosalo) for the Tapiola area in Espoo. During the past years this channel has become an important part of the town’s culture and has gained a small but loyal crowd of followers. There is only one problem: money. When the holding media group sends Marika (Vera Kiiskinen) to modernize the channel, disputes over power and values break out. The station’s characterful staff adjusts to the new way of thinking, but what happens to their jobs and Radio Stage’s unique voice?
“Change is the only constant. And that’s precisely what makes us lose our minds.”
Performed in Finnish. English subtitles available only in January and February 2019
Writer and director: Juha Jokela
Set design: Teppo Järvinen
Costume design: Sari Suominen ja Noora Salmi
Sound design: Tommi Koskinen
Lighting design: Heikki Örn
Video design and photos: Timo Teräväinen
Make-up design: Mari Vaalasranta
On stage: Raimo Grönberg, Henna Hakkarainen, Ria Kataja, Vera Kiiskinen, Ylermi Rajamaa, Martti Suosalo, Tommi Taurula
Nine Good Reasons to Live is the story of a young woman who has failed to achieve social expectations, at least in terms of education, working life, and relationships. Some would call her marginalized. But of course nobody is ever really marginalized: everyone is at the center of their own life. In a society which places huge demands on people, worshipping success, super-careers and celebrity, it’s easy to forget your self-worth. Nine Good Reasons to Live is about losing, but then regaining, confidence. Seemingly small things happen to seemingly insignificant people, but on the inside they are each great in their own way.
For 30-year-old Klara, many ordinary things seem overwhelming: it’s difficult to swallow, to go outdoors, to talk to strangers, and it’s especially difficult to say no. Yet being so sensitive to the world around her is both a burden and an opportunity. Klara hears and sees things which other people fail to notice. She is able to be compassionate towards all kinds of life. Using her imagination, she is able to conjure up a world for herself which seems a bit friendlier than it perhaps actually is.
Anna Krogerus’ play allows us to hear the voice of a sensitive person above the drone of an achievement society. The play is a clear response to a world which values individual achievement, and where everything is dependent on individual effort. It speaks of a world where the governing pronoun of humanity is not ”I” but ”we”.
On Stage: Santtu Karvonen, Juha Kukkonen, Ella Mettänen (vier.), Pihla Penttinen (vier.), Minna Suuronen ja Robin Svartström
Set and costume design: Paula Koivunen
Sound design: Jussi Kärkkäinen
Light and video design: Ville Mäkelä
Choreography: Kaisa Niemi
|Theater:||The Group Theatre|
”Mommy always said there were no monsters. But she was wrong.”
Four actors travel through space in hypersleep inside a spaceship Takomo. The hypersleep in interrupted when the ship’s computer Mother gives them an assignment. They have to investigate a message coming from deep inside the theatre’s dressing room. One of the actors is sent to investigate. He returns to the stage something attached to his face. At the same time a middle-aged woman turns into a monster in a studio flat in East-Helsinki, one actor interrupts the whole performance and the cast is forced to rise to the Next Level…
Alien is a performance about fears and getting rid of them. What am I afraid of? Are there monsters in real life?
Directed by Jukka Ruotsalainen
Stage/lighting/video design: Sami Roikola
On stage: Joanna Haartti, Joonas Heikkinen, Niina Hosiasluoma, Olli Riipinen
Theatre Takomo’s performance draws inspiration from Ridley Scott’s 1979 Sci-Fi classic Alien.
One day a woman is too tired to get up from her sofa. She just wants to be.
One day a woman falls asleep on her sofa and then wakes up.
She sees the outside world in a different light. It seems as though she has been betrayed.
One day a woman decides to climb Mount Everest.
Mount Everest is a play about how people are always trying to reach one another, even when the world’s highest mountain is between them.
Mount Everest written and directed by Antti Hietala.
Cast: Minna Haapkylä, Lotta Kaihua, Paavo Kinnunen,
Pirjo Lonka and Pyry Nikkilä
Set, lighting and video design: Jani-Matti Salo and Mark Niskanen
Sound design: Kasperi Laine
Costume design: Pirjo Liiri-Majava
Duration 2hrs 10 min including interval
Premiere at Q-theatre on 19th of September 2018
Roland Schimmelpfenning’s play Den Stora Elden (Das Grosse Feuer, The Great Fire) is Swedish-speaking with English and Finnish subtitles through the mobile application THEA. Den Stora Elden had its world premiere in January 2017 at Staatstheater Mannheim in Germany.
Den Stora Elden is a modern fable about two villages in a valley next to a river. One side of the valley grows grapes for wine, on the other side oxen, cows, horses and sheep graze. Summer brings heat waves, drought, storms and rain. But only one of the villages is struck by floods, death and disease. The school teacher wonders: “How can this be? This summer nothing is divided equally”. While one village buries its dead, the miller on the other side transforms his mill into a resort for partying tourists. When a great fire burns down the affected village, survivors board boats and try to reach the other side – but by now the river has expanded and is as wide as the ocean.
Den Stora Elden points sharp social criticism at our world and how it works today. Ever since the earlt 2000's, Schimmelpfenning has become well-known for plays that explore human identities and relationships put into a contemporary global economical and ecological context. Schimmelpfenning tells an archaic story with biblical motifs, and poetically describes how friends become enemies, how natural disasters divides the world into rich and poor and how injustice GROWS and affects people’s lives.
Viirus’ theatre hall is divided for the performance by a screen that separates the audience from the actors. The audience is transported through a camera lens up close to the delicate details of the miniature world while their bodies remain at a cold distance from what’s happening on stage. What happens to your ability to empathise and think critically when the distance grows large enough?
Text: Roland Schimmelpfennig, Translation: Ulf Peter Hallberg
Director: Anders Carlsson
On Stage: Maria Ahlroth, Martin Bahne, Iida Kuningas, Oskar Pöysti, Jessica Raita
Concept planning: Maria Lundström
Scenography and Costume: Janne Vasama
Sound Design: Ville Kabrell
Light Design: Lauri Lundahl
Videoplanning: Jonatan Sundström
Translation: Ulf Peter Hallberg
Camera operators: Colin Thaa, Jodie Sinclair
Nora – moving away from Henrik Ibsen’s A Doll’s House – is a performance about the acts, roles and boundaries that the woman won’t fit in. The performance returns to the core of humanity; the longing for freedom and the inner urge in all of us to simultaneously protect and destroy everything. How can you live with a conflict like that? Is the only solution to be all alone to understand yourself and everything else?
The 140-year-old classic play by Ibsen is still current. This performance is an attempt to find out what A Doll’s House is really about and what happens after it. Does the play something to laugh at?
The concept: the ensemble
Director: Alma Lehmuskallio
On stage: Rosanna Kemppi, Kreeta Salminen
Text: Marie Kajava, Henrik Ibsen and the ensemble
Dramaturgy: Marie Kajava, Alma Lehmuskallio
Sound design and music: Viljami Lehtonen
Scenography: Veera-Maija Murtola
Light design: Viljami Lehtonen, Veera-Maija Murtola, Saku Kaukiainen
Photo: Marko Mäkinen
|Author:||Henrik Ibsen, Marie Kajava and the ensemble|
|Dramaturge:||Marie Kajava, Alma Lehmuskallio|
I’t been a very long week. One wishes to sleep in, or at least in peace, and wake up to the singing of the birds. Tropical heat caresses like a hot blanket and flowers are blooming more magnificent than ever before. Still the next ice age is already waiting somewhere around the corner of a round globe. A rose planted on an unnamed grave wishes to stay nameless. And all this time, only remotedly interested about all this, the celestial bodies of the universe just keep on eternally rearranging.
Sunday is an all-encompassing artwork of beautiful pictures thats longs for, believes, hopes and loves with both wonder and passion. Singing and dancing it tries to understand the mankind and the world, as well as to find an ongoing celebration of an eternal Sunday.
The performance is a joint production between Theatre Telakka and Theatre Vanha Juko. It also continues the director-coreographer Ari Numminen’s collaboration with both ensembles.
A large amount of real flowers are used in the staging of the performance.
On stage: Laura Hänninen (Telakka) Minja Koski (Vanha Juko) Tuomas Luukkonen (Telakka) Maria Nissi (Vanha Juko) Jussi-Pekka Parviainen (Vanha Juko) Ilona Pukkila (Vanha Juko) Kaisa Sarkkinen (Telakka)
Premiere on 31.8.2018 at Theatre Telakka, second premiere on 25.10.2018 at Theatre Vanha Juko.
Music: Tuomas Luukkonen and the ensemble
Light design: Simo Saukkola
Sound design: Hannu Hauta-aho
Costume design: Tiina Helin
Visual design: Tiina Helin ja työryhmä
Choreographic assistent: Nelli Ojapalo
Costume design assistent: Senni Tähtinen
|Director:||Ari Numminen and Linda Wallgren|
Tainaron paints a picture of the future – a future which is already here, but hard for us to see.
Newly arrived in the city of Tainaron, our narrator discovers its strange way of life. Here, transformation is part of the daily routine, blurring the boundaries between people, animals and plants. As a place, Tainaron is hard to pin down: totally unrecognizable and yet disturbingly familiar. It is a realm populated by sapient insects, apparently doomed to imminent destruction. The outsider observes the city’s way of life with curiosity, and sends letters to those of us who are still here, in the world we know, blindly immersed in our own reality.
Against a magical dystopia full of poetry and hope, the work explores life’s process of mourning the past, encountering the unknown and accepting change.
The live music has been especially composed for the piece by Aino Venna. Leena Krohn is one of Finland’s most internationally acclaimed authors, and Tainaron is her breakthrough novel from the 1980’s.
On Stage: Kati Outinen and Aino Venna
Original Novel by Leena Krohn
Director: Essi Rossi
Adaptation: Iida Hämeen-Anttila and Essi Rossi
Dramaturges: Essi Rossi and Iida Hämeen-Anttila
Set and Lightning designer: Milla Martikainen
Video designers: Milla Martikainen and Aino Venna
Costume designer: Auli Turtiainen
Music by Aino Venna
Sound designer: Pauli Riikonen
Make up designer: Krista Karppinen
|Theater:||The Finnish National Theatre|
”Intoxicatingly beautiful vision into the genesis flood and the ongoing battle of survival.”
NOAHS, a collaboration between Aurinkobaletti and TEHDAS Teatteri, overflow the stage with visual interplay of contemporary dance and -puppetry. This hypnotically cinematographic performance combines the biblical flood myth with the world we live in today. As the flash flood of beautifully crafted worlds collide and overlap before one’s eyes, NOAHS ask the audience to fasten their life-jackets. The performance journeys through the deserts and plastic filled beaches. It travels to the space and from ever melting Arctic to the Ark.
NOAHS raise questions about artificial intelligence, mistakes repeated throughout the history and about supremacy of human species and ”the chosen ones”.
Visually compelling and immaculately executed performance praised by the critics opens again for the audience in November 2018.
”An aesthetic experience with a capital E”
Åbo Underrettelser/ Bianca Gräsbeck
”NOAHS succeed in bringing together a wide range of expressive elements in the most effective way. The performance branches out into various directions creating an experience that is rewarding yet refreshingly thought provoking.”
Turun Sanomat / Kaisa Kurikka
Choreography and Director: Urmas Poolamets (Aurinkobaletti), Merja Pöyhönen (TEHDAS Teatteri)
On Stage: Anna-Kaisa Kuisma, Jaakko Lilja, Laura Sillanpää (Tehdas Teatteri), Mikko Kaikkonen, Päivi Kujansuu, Elina Raiskinmäki, Patrick Di Quirico (Aurinkobaletti)
Puppet, set and Costume design: Jenni Rutanen, Laura Hallantie ja Pia Kalenius (Tehdas Teatteri)
Light design: Marko Kallela
Music and sound design: Konsta Savolainen
|Director:||Urmas Poolamets ja Merja Pöyhönen|
A snowy adventure about a little boy called Sampo who goes for a dangerous trip among reindeer, wolves and trolls - all to save the daylight back and get the sun to rise again. The director Paul Olin and the actors have processed the text together, using Zacharias Topelius old fairy tale about Sampo Lappelill as an inspiration source.
With the performance, Unga Teatern also wants to celebrate Topelius and his fairy tales, when it in the beginning of this year was 200 years since the author was born.
Age recommendation 3-8 years. The length of the performance is about 50 minutes.
The play is performed in Swedish and Finnish.
Text: Paul Olin & the ensemble
Director: Paul Olin
Scenographty & Costumes Janne Siltavuori
Music, sound and light design: Jukka Hannukainen
On stage: Camilla Bäckman, Ylva Edlund, Jakob Johansson, Frank Skog, Anders Sundström & Kristian Thulesius
|Author:||Paul Olin & the ensemble|