At the beginning of May, Tiina Naumanen still has a thick stack of text in front of her and an entire summer of theatre ahead. Rehearsals at Tahko Summer Theatre are just beginning, and the production being prepared for the stage is based on Aleksis Kivi’s classic Nummisuutarit — with things going wrong.
Tahko Summer Theatre is now entering its second summer. Last summer, everything came together on a fairly tight schedule, but the experience was encouraging. The performances took place in the Maisemasali hall at Break Sokos Hotel Tahko, and the same space will also serve as the stage this coming summer.
– Last summer went well, considering how quickly the summer theatre had to be put together. This time, we’ve had more time to promote it.
In addition to Naumanen, the cast includes Janne Puustinen, Antti Heikkinen and Antti Janka-Murros, who also serves as the production’s musician. The production is directed by Taava Hakala.
A classic allowed to come apart at the seams
Nummisuutarit – joka menee pieleen is based on Aleksis Kivi’s classic, but this is not a traditional interpretation.
– A rather small theatre troupe sets out to stage Nummisuutarit. Then it turns out that not everything is quite in place, and all sorts of things start happening on stage, Naumanen says.
Kivi’s story remains present, but in this new version, situations spin out of control and the text is brought to life with music.
Naumanen describes the production as a rough-edged, humorous musical celebration. According to her, it carries the spirit of Aleksis Kivi, but also strongly reflects the world of this particular working group.
– We want to make it our own. Something rough and boldly Finnish, but still with substance and with the recognisable classic at its core. I would argue that this kind of interpretation of the play has not been seen before. And Nummisuutarit is, after all, one of the most frequently performed plays in summer theatres.
Roles begin with voice and rhythm
Naumanen plays several roles in the production. One of them is also a version of herself, although exaggerated for the stage.
Building a role begins with small observations.
– I notice that I watch people. Last week, I met a lively woman who spoke broad Savo dialect, and I realised I was constantly watching how she moved and spoke.
Naumanen thinks about what a character’s voice is like. Whether the person is fast or slow. Whether they are hunched or upright. From what direction they enter a situation.
This time, rehearsals also feel different. Previously, the working group directed one another, but now there is an outside director involved: Taava Hakala.
That means Naumanen does not want to lock the roles down too early.
– Now I’m trying not to build anything too complete in advance, in case the director has a completely different vision.
She feels that an outside perspective is a good thing. A director sees the whole in a way that the people on stage cannot always see themselves.
A safe working group makes it possible to make mistakes
Although the working group is partly familiar, a new production always makes Naumanen nervous.
She has worked with her fellow actors for a long time. That brings a sense of safety, but it does not remove the uncertainty that comes with the start of new work.
– I’ve acted with Antti Heikkinen and Janne for a long time, so it feels safe to throw myself into it with them. But I always get nervous when a new project begins.
Naumanen has also directed a great deal herself, most recently Pekka Töpöhäntä for Iisalmi Theatre. In her view, a good director above all creates a safe atmosphere — one in which people dare to try things, fail and make suggestions.
– When a person trusts, they are able to throw themselves in. Building trust is a really big thing.
A good director is also fair, has strong interaction skills and respects the entire working group. At the same time, their task is to bring the work to completion, because in theatre the schedule is very concrete. Opening night arrives on a specific date.
– The work has to be completed within a set time, and the atmosphere has to remain such that people dare to do their best, Naumanen sums up.
Humour is born from things not going smoothly
According to Naumanen, the humour in Nummisuutarit is strongly rooted in situations. She says she herself is bad at telling jokes, but everyday situational comedy makes her laugh.
– That ability to laugh at yourself. When you realise, oh my goodness, what have I managed to mess up this time. If the ability to laugh at yourself disappears, then at least for me the alarm bells should start ringing.
That is exactly what Nummisuutarit – joka menee pieleen is about. Things do not go according to plan, and recognisable comedy is born from that.
– We are also laughing a little at ourselves as a small theatre group, Naumanen says.
According to her, things going wrong on stage is funny because it is familiar to everyone.
– Everyone can relate to the fact that when things don’t go smoothly, they really don’t. There are a lot of everyday mishaps in this.
There is a need for live performance
Tiina Naumanen hopes that people will find their way to live theatre. In her view, there is a particular need for live encounters in this time.
– People need culture. The times are quite gloomy, and people need experiences as a counterbalance to that — something other than sitting on the sofa and staring at Netflix.
At the same time, it is about the vitality of local culture. If audiences do not show up, it is difficult for artists to remain in the region.
– It’s wonderful that we have a city theatre, a city orchestra, a dance theatre, museums and festivals. We freelance artists can also bring art to streets, parks, care homes and museums. In my view, these go hand in hand.
First the work, then the fireworks
At the start of the rehearsal period, Naumanen is faced with learning the text. She describes it as the kind of rote-learning work that, in Finnish, is called “hauki on kala”: drilling something into memory through repetition.
It is not yet worth learning the text too precisely, because it will probably be shortened and edited during rehearsals. Still, the groundwork has to begin. The roles change quickly, and there are also long monologues.
– We have quite a thick stack of text. I’m not yet learning everything by heart too precisely, but I’m starting to get a grip on it. Once the text is under control, then this will be pure fireworks to perform.
Naumanen intends to make space and calm for the text.
Everyday life will narrow for a while. What remains are rehearsals, family, exercise and learning the text.
So this summer at Tahko, things are allowed to go wrong. But before that, everything has to be thoroughly rehearsed.