Memorial

Legendary Kari Taipale showcases his acting talent in Muistokirjoitus at Painotalo, directed by Pilvi Honka and written by Teppo Seppänen. The monologue touches audiences of all ages, prompting them to ponder, "Why are obituaries written only for famous figures? Isn’t an ordinary life, with its divorces and renovations, worth remembering?" 

Kari Taipale has been a legendary figure to me. As an avid literature lover, I once recommended Gogol’s Dead Souls to my husband Henry. Henry also remembered how it used to bother him that he didn’t manage to see Äänekoski Theatre’s Gogol’s Diary of a Madman, in which Kari Taipale played the lead role. I lamented it myself too, because during the time I’ve lived in Äänekoski, Taipale hasn’t acted anywhere for years. 

Last summer during Koivisto Week there was a much-anticipated return to the stage on a smaller scale, and now, with Muistokirjoitus, also in a larger production. I knew the writer Teppo Seppänen from the music scene and was surprised that he also writes. I was delighted that Muistokirjoitus is a purely Äänekoski production. I often think about how we have hidden treasures and expertise that remain in the shadow of the creators’ modesty, or the ”local isn’t good enough” -attitude. Fortunately, this didn’t happen in the case of Muistokirjoitus. Tomi Kankainen has built striking marketing. The poster stands proudly in a prime location in the city, and I always smile at Taipale’s face when I drive through the downtown roundabout. The premiere was eagerly awaited, all the more so as it was moved from March to August due to the coronavirus.

A monologue is the crown discipline of acting. In the sets designed by Outi Pantsari, we see only an ordinary room and there is little external action. The writer must create sufficient tension in the protagonist’s inner world, and the entire performance rests on the charisma of a single actor. The playwright Teppo Seppänen appears on stage as well, but says nothing. Sometimes the protagonist speaks to others, but no answers are ever heard, as in some of Maria Jotuni’s dialogues. How alone can a person ultimately be in this world? Kari Taipale carries out the task brilliantly.

The range of emotions is downright breathtaking, and a larger cast is not needed to maintain interest. Under Pilvi Honka’s direction, the strongest sides of both the text and the actor have been found and brought out. Both whispering and shouting come across to the audience as genuine. It’s easy to get immersed in the story. Naturally, the music for the performance is also by Seppänen, and it creates just the right mood. 

I came to see the play in a fitting mood. My turning-thirty crisis hasn’t yet eased; apparently for a poet in a factory town it follows the long route, with complications. In that mindset, Erik Pelkonen’s story felt made for me. The formula is tragicomic and familiar: Erik gets a call from a doctor, revealing that he is terminally ill. That marks the start of recalling a past life and understanding it—too late. The final goal of life also becomes clear: a funeral in one’s own style—or, if that can’t be arranged, at least a proper obituary that reflects oneself. 

Why are obituaries written only for notable figures and celebrities? Isn’t ordinary life, where time has been wasted on boozing and DIY renovations, worth remembering? Or why must it be lived as if it were just a rehearsal? The subject of the play brings Gogol to mind, as an ordinary 'little man' steps onto the stage, as in The Overcoat or Diary of a Madman. Having lived the Finnish ”traditional man’s fate” Erik Pelkonen is kin to those minor clerks. Joy comes from insignificant things: a new overcoat, a favorite band, or an old faithful car one would take to the hereafter, if only one could. Who, in the end, would remember fondly when the time comes? Who would even remember the name correctly? 

With all his mistakes, Erik Pelkonen became a sympathetic and lovable character, though no hero and not the winning type. I warmly recommend Muistokirjoitus, as it offers both laughter and thought-provoking moments. On Saturday 12.9 and 19.9 you can meet the production team, when the creators of the monologue Pilvi Honka, Kari Taipale and Teppo Seppänen position themselves at Wille from 17:00–17:45. You can chat with them about theatre or even about life. Or isn’t our whole life ultimately theatre? At the same time you can enjoy Wille’s delicacies, e.g. tenderloin steaks and salmon smoked in-house by the kitchen. The popular sweet waffle buffet is also available. With bellies full, you can then move on to Painotalo to watch the performance. 

Hygiene and safety have been well taken care of. The intermission is arranged so that crowds can be avoided, and everyone can enjoy their coffee in peace. Hand sanitizer and masks are also available. Performances also allow for audience distancing, so only 41 tickets are on sale for each show. For this reason, tickets are recommended to be purchased in advance at Citymarket’s customer service or reserved by calling 040 054 5318. 

The remaining four performances are on Thursday 10.9. as well as 17.9. and Saturday 12.9. and 19.9. at 19:00 at Painotalo, Kalevankatu 2, Äänekoski.