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| Finnish Tanz der Vampire Helsinki revival preview review | |
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RemyH 11:48 pm UTC 02/01/16 |
| Hullo all, though you might be interested. It was different, that's what it was. Go and see it if you're in Helsinki. I would post some program scans but they didn't have them for the preview yet. Bummer.) Dear Tanz fans, what Helsinki City theatre has done to Dance of the Vampires is something pretty unique. Before the review part, I would like to say a few things. Firstly, the theatre is currently going through a renovation and the venue (Peacock-theatre) is not the place where they would normally stage a piece like this. Secondly, it's going to be a short run and the production runs only 'til April, unless they're holding back further dates. And last but not least: I absolutely worshipped the first Finnish non-replica Tanz at Seinäjoki City Theatre about four years ago, I saw it 24 times. Ahem. I really try not to compare the two shows too much. Oh, and yes, one more thing: the show I saw on 1st of February was the first preview, so I expect the production will mature at least a bit. So, where to start? No matter how you stage it, Tanz der Vampire is a magnificent piece of musical theatre, my very greatest favourite. You really have to try very hard to be able ruin it. Helsinki City Theatre has put up a very decent non-replica in my opinion, although it was clear they haven't really used all the resources they could've used. The stage at Peacock theatre does not revolve, and all set changes were done by stage hands. That was a bit annoying at times (since, for example "In Der Gruft", the vampire ensemble could've done the set changes). But, I want to start from the beginning. The Peacock theatre has a pretty big auditorium (around 900 seats) and a rather small stage. The theatre hall itself reminded me of an industrial hall, or possibly a barn, with rickety wooden fold chairs and no interior design. But what really caught my eye was the strange vision on stage centre. It looked like Sputnik married Disney's Haunted Mansion organ, with mushrooms? It turned out it was there for Koukol, who "played" the Overture on the, as I choose to call it, organ. Huh, okay. Weirder things have happened in Transylvania, but I'm not sure is it very necessary or suitably dramatic for that character to open the show. A matter of opinion, for sure. Attached is a bad quality photo of it, the hall was pretty dark. Yes, it has, for some mysterious aviation purposes, bat wings. Otherwise the character of Koukol was pretty much the usual; Juha Jokela played him just fine. Then on to "He, Ho, He". These things were clear from the very beginning: 1) Petrus Kähkönen's Alfred is a precious little dork and I liked him instantly 2) there would be additional jokes and 3) the set wouldn't bare too close observation, most details aren't very fine. The show is probably best enjoyed from halfway of the auditorium, my seat was front row centre. Then again I had the Count stand right in front of me, so I'm not complaining. More about that later. Ooh, yes, more about that. Kähkönen's Afred was a great success, indeed, I found him endearingly genuine. The good balance of brave and scared was there, the singing was effortless and I really have nothing negative to say about him. Adorable nyhverö. And talking about nyhverös, mein Gott I loved Antti Timonen's professor Abronsius! He is a young man for the part and his makeup is not the typical grandpa-look, either. He looks like an electrocuted werewolf who teaches quantum physics in University. I love it. Great look. His singing is deliciously effortless and the minute arias are delivered with impeccable timing and ease. To be honest, I was prepared to hate any actor doing Abronsius, since Esa Ahonen's acting stole my heart at Seinäjoki, but I was delighted to prove myself wrong. Well done, mister Timonen. The dynamics between these two characters are pretty standard, although they have included their own little antics. For example, Alfred tries to throw pebbles on Sarah's window, but accidentally swallows one when the professor hits him on the back of the head. When it comes to the antics and added jokes (there were quite a lot of them!), they are mostly Finnish puns or additional explanations of what's going on. I'm not sure they're that necessary most of the time, but there are some hilarious gems in there, too. Abronsius (after Für Sarah): Well done boy! When you don't change your clothes for bed, you have time for a power ballad in the morning!" (I almost peed myself laughing.) I really liked the energy and garlic-embroidered costumes of the villagers in "Knoblauch". There are many fans who don't like the scene at all and don't care what happens, but the way the villagers act reflects on the vampires, too. I liked the Helsinki villagers. They were silly enough, real enough and scared enough. The whole atmosphere of this production is very comedy-heavy, though, so if you like your Tanz more brooding and romantic, this isn't probably a show for you. I, on the other hand, love my silliness in Tanz, and for example the Garlic-wreathed maypole sort of thing the villagers danced around was pretty funny. "The leading villagers" Chagal, Rebecca and Magda were solid, nothing particular to say about any of them. The character of Chagal (played by Risto Kaskilahti) is pretty tiresome at the best of times, and this one wasn't an exception. Rebecca (Leenamari Unho) could use a bit of that country wife "oomph" and Magda's (Laura Alajääski) performance lacked fear, I feel, but they're still growing in their roles. Pretty okay singing from all of them, although there were some strange stretches and tempo hiccups, but that could've been the backing track. Then a few words about the set. Mostly pretty logical and what I expected from their resources, but what was that… that thing coming down from the ceiling on Einladung Zum Ball?! Did Stephen Hawkins ring you, because I think he wants his flying Halloween wheelchair back. I just don't know what to say, please drop that thing and lower the poor vampire down without that infernal back brace. I think their inspiration comes from the Asian version, but if you can't make the wings open smoothly (it was like a dying insect), please keep on working on them. I would prefer no batman gear whatsoever on that scene, though. When it comes to the costumes, well, I found them a bit strange and (assumingly) unintentionally comical at times. I'm not saying all vampires should be pretty and graceful and glittery, heavens no. But when the Count is accompanied by a herd of big-eared fluffy Muppet things from Hell during Gott Ist Tot, the song kind of suffers. I wanted to scratch their bellies. They have, by the way, taken out quite a lot of music, including the chorus at the end of Gott Ist Tot. Not liking that very much. While I know it's good business to make the show end before 10 pm, so the actors don't have to be paid extra (like it is in Finland), I still don't think one should break a full, composed piece as it was intended. I just really love Steinman, okay? A few more things about the music... Apparently they're using the same backing track they have in France? I know for sure it wasn't the same they had in Seinäjoki. The music was pretty mangled by the pa systems and I honestly cannot tell what was real and what was on tape. Many times the music was drowned by the singers and I don't think the live choir sang at all at some points. Hard to tell, really. The orchestra is enclosed somewhere and the musicians didn't even come for curtain call. Oh, and the added sound effects! Please have mercy on my ears! I sounded like Chagal and the Count bit on giant fortune cookies, the majestic crunch could've been the sound of a T-Rex munching a bag of prehistoric crisps. Take it easy, we can hear it just fine even if you take the volume down a bit, like, 3/4 of it. Ach, I could write something about all scenes, but to name a few more highlights of act one, I rather liked Die Roten Stiefel dance part. They had a dozen of Krolocks (doubles) dancing the double Sarah, and the effect was… okay. I think I liked it, although I did miss my traditional dancers. The dance ended with the Count himself (not a double) carrying Sarah away in his arms, and that was very romantic and touching. Loved it. Sarah, by the way, was performed by the dazzling dame Raili Raitala. I already loved her, since she'd already performed Sarah in Seinäjoki, and she's a gift that just keeps on giving. I really do like her performance, although her characterization of Sarah was less clear and a bit more traditional in this production. Maybe it'll grow. On to act two. My favourite scene is Carpe Noctem, now and forever. While I realize it's not easy decorating a bedroom of nightmares in a gothic castle, I still would've done it without Christmas ornaments and tinsel. The bed post carvings had red glowing eyes like one robot toy I had as a kid. Not very scary, I'm afraid. Still, the set isn't everything in CN. One thing I really didn't like about Carpe Noctem was a female singer as the Nightmare Soloist, opening the song. I suppose there's nothing wrong with that per se, but it's a very sensual moment and somehow a lady just doesn't... do it for me. Maybe it's a sex thing, in which case I apologize. I'm tempted to say the choreography was a bit messy, but it's hard to tell with just one watching and from the front row. One thing was pretty nice though: instead of a Black Vampire (the count's body double dancer), the count himself was in the scene. Very hot, very nice. Oh, let's finally talk more about the Count. I am very happy I chose this night, since the production has a double casting. Mikko Vihma was a smirking, powerful and excruciatingly handsome von Krolock. I didn't necessarily like all costumes (I think his ball jacket was made of vinyl or something), but goddamn the man can perform the part. Love the white contact lenses, not crazy about the gloves though (don't be shy, paint those shadows between the fingers, now he looks like his hands are just a bit dirty). The Count could be a bit more distant, though, for example in "He, Ho, He" -reprise he kept popping up, to a rather comical effect. Since he's already present in Die Roten Stiefel and Carpe Noctem, he could sing that bit standing on a piece of wall or something. I don't know, it's another matter of opinion, I suppose. The Count is also seen at the end, pretty composed, no crazy flying rock star Krolock (thankfully). At this point I should probably tell you that in Helsinki the Count's son Herbert looks like something between Kiefer Sutherland in The Lost Boys and Nathan Lane in The Birdcage. He's like Elton John whose wardrobe attacked with glittery vengeance. Uh, okay. We're used to flashy Herberts in Finland. His singing was okay, could've been a bit more relaxed though, but I liked his characterization. But, back to act two. There would be hundreds of details I could point out and compare the show to both the replica versions and the Seinäjoki non-replica, but I'm going to name just the best spoilers here. If you don't want to ruin the surprise, you really need to stop reading now. Okay, first of all, Chagal was at the ball and he led his daughter down the stairs to the Count. Auugh, my heart! It was heartbreakingly twisted and perverted, and I suppose I don't have to tell you I really liked it. Like father, like daughter? Another thing was, and this is big thing, that the professor gets bitten in the end. WHAAAAT? And he joins the vampires in their dance. It's, it's, it's, it's silly, that's what it is. I'm not going to comment any further, if you know (and love) the show like I do, you can form your own opinion about that. All and all, the Helsinki Vampire Show has a very good heart and the actors seem to enjoy themselves. I had fun, my frieds had fun, I got winks from pretty dancing vampires and it was a night damn well spent. It always is with Tanz der Vampire. Will go and see this production again, if I can. | |
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