{"id":1567,"date":"2020-09-10T16:01:34","date_gmt":"2020-09-10T13:01:34","guid":{"rendered":"https:\/\/gg.tyonalla.fi\/palaute\/arviot-esityksista\/"},"modified":"2020-09-22T19:55:09","modified_gmt":"2020-09-22T16:55:09","slug":"arviot-esityksista","status":"publish","type":"page","link":"https:\/\/glimsgloms.fi\/en\/palaute\/arviot-esityksista\/","title":{"rendered":"Reviews"},"content":{"rendered":"
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Milla viljamaa: tiiti\u00e4inen<\/h4>\n
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Milla Viljamaa ja Glims & Gloms 2024<\/strong>

Viljamaa on luonut raikkaan sointi- ja s\u00e4velmaailman sata vuotta sitten syntyneen Kirsi Kunnaksen<\/strong> lastenrunoihin. H\u00e4n on sukeltanut runojen pinnan alle ja puhaltanut niihin uuden el\u00e4m\u00e4n kauniilla, hauskoilla ja kaihoisilla melodioilla ja \u00e4\u00e4nimaisemilla. Sihin\u00e4t, suhinat, kavionkopse, rutinat ja p\u00e4rin\u00e4t kuljettavat kuulijan robottien, perunan keiton ja villien ratsastajien maailmaan. Levyn loistavien solistien erilaiset \u00e4\u00e4nenv\u00e4rit, stemmalaulu sek\u00e4 el\u00e4ytyv\u00e4 laulu- ja lausuntatapa vahvistavat runojen kuvitusta.

Musiikki on ilmeik\u00e4st\u00e4, yll\u00e4tyksellist\u00e4 ja taitavasti soitettua ja laulettua. Soittimistosta l\u00f6ytyv\u00e4t muiden muassa harmoni sek\u00e4 tina- ja kazoopilli. Osa instrumenteista on toteutettu tietokoneella. Tiiti\u00e4inen on s\u00e4velletty edelleen esitett\u00e4v\u00e4\u00e4n tanssiteokseen, josta n\u00e4kee p\u00e4tki\u00e4 vapaasti verkosta ladattavan levyn yhteydess\u00e4, mutta levyn \u00e4\u00e4nimaailmakin synnytt\u00e4\u00e4 mieless\u00e4 vahvoja visioita. On ihana kuulla n\u00e4in korkeatasoista lastenmusiikkia, jossa riitt\u00e4\u00e4 ihmetelt\u00e4v\u00e4\u00e4, kummasteltavaa ja iloa sek\u00e4 lapsille ett\u00e4 aikuisille.

Arja Kangasniemi, Kansanmusiikki-lehti 3\/2024<\/strong><\/p>\n<\/div>\n

Katso esityksen tiedot: Tii-Tii-Tiiti\u00e4inen<\/a>><\/div>\n<\/div>\n\t\n\t\t
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Tii-Tii-Tiiti\u00e4isess\u00e4 runo taipuu tanssiksi ja tanssi iloksi<\/h4>\n
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Kuulaksen avausesitys lumosi kriitikon.<\/strong>

Tanssiteatteri Glims&Gloms: Tii-Tii-Tiiti\u00e4inen. Runot: Kirsi Kunnas. K\u00e4sikirjoitus, koreografia, ohjaus: Simo Heiskanen. S\u00e4vellys: Milla Viljamaa. Kuvitus: Julia Vuori. Pukusuunnittelu: Karoliina Koiso-Kanttila. Video- ja valosuunnittelu: Ville Virtanen. Esiintyj\u00e4t: Simo Heiskanen, Kasperi Kolehmainen, Kaisa Niemi, Ilona Pukkila, Milla Viljamaa, Jussi V\u00e4\u00e4n\u00e4nen. Kuulas -lastenteatteritapahtuman avajaisesitys. Kouvolan teatteri 22.5.<\/strong><\/p>\n\n\n\n

Kun teatterinjohtaja Tiina Luhtaniemi<\/strong> ja Kouvolan liikunta- ja kulttuurilautakunnan varapuheenjohtaja Nita Ahola <\/strong>lausuivat Kuulas-tapahtuman avajaissanat, heit\u00e4 kannatti kuunnella. Luhtaniemi kannusti lukemaan \u00e4\u00e4neen, lukemaan yhdess\u00e4 ja leikkim\u00e4\u00e4n yhdess\u00e4. Ahtola palasi omiin Kuulas-muistoihinsa ja muistutti, ett\u00e4 kulttuuri kuuluu kaikille.<\/p>\n\n\n\n

Sitten p\u00e4\u00e4stiin sadun ja runon maahan, aivan kuin joku olisi k\u00e4\u00e4nnellyt sivuja ja kutsunut yleis\u00f6n sis\u00e4lle kirjaan. Suomalaisen lastenrunouden uudistajan Kirsi Kunnaksen<\/strong> satavuotisjuhlavuoden kunniaksi valmistunut tanssiteatteri Glims&Glomsin poikkitaiteellinen Tii-Tii-Tiiti\u00e4inen valloitti yleis\u00f6n i\u00e4st\u00e4 riippumatta ensi hetkist\u00e4 alkaen. Esityksess\u00e4 runot pulppuavat, tanssi vangitsee, katsojan mielikuvitus saa mellastaa.<\/p>\n\n\n\n

Kiitos Julia Vuoren<\/strong>, n\u00e4ytt\u00e4m\u00f6lt\u00e4 katsomoon huokuu Martta Wendelin<\/strong> -henkisten, Rudolf Koivunkin<\/strong> sulokkaita lastenkirjakuvituksia heijastelevien kuvien tunnelmaa. Lapsille pit\u00e4\u00e4 olla koettavana lempe\u00e4\u00e4 kauneutta, joka vahvistaa uskoa hyv\u00e4\u00e4n, ja siin\u00e4 Tii-Tii-Tiiti\u00e4isen visualisointi onnistuu. Karoliina Koiso-Kanttilan<\/strong> puvustus miltei riehuu kekseli\u00e4isyytt\u00e4 ja v\u00e4rien rikkautta. Milla Viljamaan<\/strong> leikittelev\u00e4, valppaasti tapahtumiin reagoiva musiikki lujittaa kokonaisuutta vahvistamalla tunnelmaa, voimistamalla s\u00e4vyj\u00e4 \u2013 mutta silti se luo ja tuo mukaan yll\u00e4tyksi\u00e4kin.<\/p>\n\n\n\n

Glims&Glomsin ensemble on taitava. Esiintyjien tekninen osaaminen ei ulotu pelk\u00e4st\u00e4\u00e4n tanssiin; he lausuvat, he laulavat, heiss\u00e4 henkil\u00f6ityv\u00e4t niin Tunteellinen siili kuin Tiiti\u00e4inen ja kumppanitkin. Roolit ovat vahvoja, ilmaisu topakkaa. Taiteellinen kunnianhimo n\u00e4kyy ja kuuluu.<\/p>\n\n\n\n

Simo Heiskanen<\/strong> on luonut Tii-Tii-Tiiti\u00e4isest\u00e4 todellisen kokonaistaideteoksen, jossa jokainen elementti niveltyy saumattomasti toiseen. Kaiken ydin on runon rytmin, riimin ja liikkeen keskin\u00e4isess\u00e4 yhteydess\u00e4. Nautin etenkin koreografioiden monimuotoisuudesta ja siit\u00e4, miten runo tulee tanssissa n\u00e4kyv\u00e4ksi.<\/p>\n\n\n\n

Ohjaus on tarkkaa, huolellista ja hyvin rytmitetty\u00e4. Suvantovaiheissa katsoja saa rauhan keskitty\u00e4 taustakuvaan tai musiikkiin. Kokonaisuus suorastaan lumoaa. Ettei vain taikurin kosketuksella ollut osansa lopputuloksessa?<\/p>\n\n\n\n

Tii-Tii-Tiiti\u00e4isen esityksest\u00e4 poistui katsojia, jotka suorastaan hyrisiv\u00e4t hyv\u00e4\u00e4, iloista mielt\u00e4. Onneksi sit\u00e4 voi k\u00e4yd\u00e4 tankkaamassa Kuulas-tapahtuman muissa esityksiss\u00e4 koko viikonlopun ajan.

Anna-Maija J\u00e4rvi-Herlevi, Kouvolan Sanomat 25.5.2024<\/strong><\/p>\n<\/div>\n

Katso esityksen tiedot: Tii-Tii-Tiiti\u00e4inen<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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Glims & Glomsin satumainen Tii-Tii-Tiiti\u00e4inen lumoaa katsojan<\/h4>\n
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On harvinaista herkkua n\u00e4hd\u00e4 sellainen esitys kuin Glims & Glomsin syksyn koko perheen uutuus Tii-Tii-Tiiti\u00e4inen. T\u00e4ll\u00e4 tarkoitan esityst\u00e4, jonka joka ikinen osatekij\u00e4 toimii ja joka on lasten lis\u00e4ksi aidosti kiinnostava my\u00f6s aikuiselle<\/strong>.

Toki Kirsi Kunnaksen<\/strong> klassikkorunot ja niiden tuominen n\u00e4ytt\u00e4m\u00f6lle ovat jo sin\u00e4ll\u00e4\u00e4n vahva l\u00e4ht\u00f6kohta, mutta se ei silti takaa itse esityksen onnistumista. Simo Heiskanen<\/strong> on kuitenkin k\u00e4sikirjoituksessaan ja ohjauksessaan kyennyt luomaan Kunnaksen eri teoksista kootuista lastenrunoista ehj\u00e4n ja rakenteellisesti luontevasti etenev\u00e4n kokonaisuuden.<\/p>\n\n\n\n

Punaisena lankana kulkee Haitulan etsiminen ja etsinn\u00e4n my\u00f6t\u00e4 mukana ovat kaikki monelle tutut runot, mutta my\u00f6s hieman harvinaisempia.<\/p>\n\n\n\n

Koska Glims & Gloms on tanssiteatteri, runot nimenomaan sek\u00e4 kuullaan ett\u00e4 n\u00e4hd\u00e4\u00e4n. Esityksess\u00e4 on kautta linjan ihan kunnon tanssia, eik\u00e4 vain vauhdikasta liikkumista. Heiskasen ilmeik\u00e4s koreografia ja\u00a0Milla Viljamaan<\/strong>\u00a0s\u00e4vellykset osaan runoista toimivat loistavasti yhteen. Ja kun ei lauleta, Viljamaan \u00e4\u00e4nimatto antaa sointuvan pohjan liikkumiselle ja runojen lausumiselle.

My\u00f6s esityksen visuaalinen maailma on heng\u00e4stytt\u00e4v\u00e4. Ville Virtasen<\/strong> Julia Vuoren<\/strong> kuvituksesta tekem\u00e4t yht\u00e4 aikaa luonnolliset ja sadunomaiset videot ovat lumoavia. Projisoinnin mets\u00e4 ja aavikko jopa tanssivat musiikin mukana.<\/p>\n\n\n\n

Karoliina Koiso-Kanttilan<\/strong> yksityiskohtia t\u00e4ynn\u00e4 olevia, kekseli\u00e4\u00e4n humoristisia ja v\u00e4rikyll\u00e4isi\u00e4 pukuja katselisi vaikka kuinka kauan. Ja Viljamaan soittokoroke on maaginen m\u00e4t\u00e4s, jota liikutellaan tarpeen tullen ymp\u00e4ri n\u00e4ytt\u00e4m\u00f6\u00e4.<\/p>\n\n\n\n

Huumoria ja syd\u00e4mellist\u00e4 l\u00e4mp\u00f6\u00e4 on my\u00f6s esityksen hahmoissa. Tulee tunne, ett\u00e4 teoksen tekij\u00e4t ovat todella halunneet tehd\u00e4 esityksen, eik\u00e4 se ole \u201dvain ty\u00f6t\u00e4\u201d.
Tapahtumien johdattelijana on Heiskasen kertojahahmo. Kasperi Kolehmainen<\/strong>, Kaisa Niemi<\/strong>, Ilona Pukkila<\/strong> ja Jussi V\u00e4\u00e4n\u00e4nen<\/strong> vaihtavat runojen my\u00f6t\u00e4 hahmosta toiseen pienin elein, \u00e4\u00e4nen muutoksin tai vaatteiden vaihdoin.<\/p>\n\n\n\n

NIIN TANSSI KUIN<\/strong> n\u00e4yttelij\u00e4ilmaisu ovat luontevan vaivatonta ja rauhallisen selke\u00e4\u00e4. Mit\u00e4\u00e4n ei yliyritet\u00e4, mutta kaikki mik\u00e4 tehd\u00e4\u00e4n, tehd\u00e4\u00e4n t\u00e4ysill\u00e4. Ja kontakti rampin yli syntyy, vaikkei katsojia v\u00e4en v\u00e4ng\u00e4ll\u00e4 yritet\u00e4 osallistaa.<\/p>\n\n\n\n

Esityksess\u00e4 ei ole hetke\u00e4k\u00e4\u00e4n tyhj\u00e4\u00e4 kohtaa ja rytmitys toimii. Energiaa ja vauhtia kyll\u00e4 on, mutta ei itsetarkoituksellisesti ja v\u00e4lill\u00e4 my\u00f6s rauhoitutaan. Liki tunnin kesto hujahtaa nopeasti ja vangitsee vaivatta my\u00f6s lapsikatsojat.<\/p>\n\n\n\n

Toivon todella, ett\u00e4 Tii-Tii-Tiiti\u00e4inen saa pitk\u00e4n elinkaaren. Sen lis\u00e4ksi, ett\u00e4 se tutustuttaa loistaviin lastenrunoihin, se antaa el\u00e4myksi\u00e4 ja kokemuksen siit\u00e4, mit\u00e4 pohjimmiltaan pienimuotoinen lastenteatteri voi parhaimmillaan olla.

Annikki Alku, Demokraatti 18.9.2023<\/strong>
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Katso esityksen tiedot: Tii-Tii-Tiiti\u00e4inen<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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Vuoden 2023 kirkkaiksi hiotut esitykset<\/h4>\n
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Mik\u00e4 oli vuoden 2023 napakymppi? Mik\u00e4 h\u00e4mmensi hajanaisuudellaan? Nelj\u00e4 lehden paljon n\u00e4hnytt\u00e4 kriitikkoa paljastaa vaikuttavimmat esitykset viime vuodelta. <\/p>\n\n\n\n

R A I S A  R AU H A M A A : Rohkeasti outo n\u00e4ytt\u00e4\u00e4 erilaisen maailman<\/strong><\/p>\n\n\n\n

\ud83d\ude0a Glims&Gloms: Koreografi\u00a0Tuomo Railon<\/strong>\u00a0Bach-projekti<\/em>\u00a0oli oikea laatuteos Tanssin talon Erkko-salin suurella n\u00e4ytt\u00e4m\u00f6ll\u00e4. Kirkkaaksi hiottu esitys oli ilo silmille ja korville. Pianisti\u00a0Risto Laurilan<\/strong>\u00a0n\u00e4ytt\u00e4m\u00f6ll\u00e4 tulkitsemat\u00a0J. S. Bachin<\/strong>\u00a0Goldberg-muunnelmat<\/em>\u00a0saivat eri-ik\u00e4iset tanssijat eloisasti loistamaan ja soljumaan musiikin vaihtuvien tunnelmien kuljettaessa heit\u00e4 yh\u00e4 uusiin tanssillisiin tilanteisiin. Vakuuttava, taitava ja kaikilta osiltaan loppuun asti rakennettu, mielihyv\u00e4\u00e4 tuottava nykytanssiteos!

Teatteri & Tanssi + Sirkus -lehti 1\/2024, Raisa Rauhamaa<\/p>\n<\/div>\n

Katso esityksen tiedot: THE BACH PROJECT<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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V\u00e4rikk\u00e4it\u00e4 jalokivi\u00e4<\/h4>\n
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Vanhempi herrasmies mustissaan astuu Tanssin talon suurelle, tyhj\u00e4lle lavalle, k\u00e4velee sen poikki ja istuu flyygelin eteen. Pianisti\u00a0Risto Laurialan<\/strong>\u00a0avulla pulppuavat\u00a0Johan Sebastian Bachin<\/strong>\u00a0Goldberg-muunnelmien\u00a0<\/em>s\u00e4velet saliin. Pianoteos koostuu teemasta ja sen kolmestakymmenest\u00e4 muunnelmasta, enimm\u00e4kseen duuriin s\u00e4velletyist\u00e4. Salin t\u00e4ytt\u00e4\u00e4 kevyt ja j\u00e4sentynyt barokkitunnelma, jossa hetkitt\u00e4in voi kuulla haikeitakin s\u00e4vyj\u00e4.<\/p>\n\n\n\n

Ja sitten lavalle pyr\u00e4ht\u00e4\u00e4 yhdeks\u00e4n tanssijaa, eri-ik\u00e4isi\u00e4 miehi\u00e4 ja naisia, kuka sinisess\u00e4, kuka keltaisessa, kuka roosassa pitk\u00e4ss\u00e4 housuhameessa. He muodostavat linjoja ja jonoja, vastakkaisia rivej\u00e4 sek\u00e4 asentoja, joissa usein k\u00e4sien suunnat ja katse m\u00e4\u00e4r\u00e4\u00e4v\u00e4t reitin. K\u00e4det liikkuvat nopeasti, halkovat ilmaa ja johdattavat kulkua. Kunnes kuvio hajoaa palatakseen taas yhteen tai muodostaakseen duettoja ja sooloja. Tuntuu kuin katsoisi tanssivia nuotteja.<\/p>\n\n\n\n

Tuomo Railon Bach-projekti <\/strong>valmistui oikeaan paikkaan. Railo oli Tanssin talon keskeisi\u00e4 puuhahenkil\u00f6it\u00e4, ja nyt haave ison n\u00e4ytt\u00e4m\u00f6n teoksesta on toteutunut. Koreografia on syntynyt videoiduista improvisaatioista puretusta materiaalista. Railo on halunnut s\u00e4ilytt\u00e4\u00e4 improjen hetkellisyyden ja onnistunut siin\u00e4. Bach-projektin<\/em> erinomaiset tanssijat ovat ottaneet vaativan koreografian t\u00e4ysin omakseen ja tuovat sooloihin ja duettoihin el\u00e4m\u00e4nkokemuksensa. He v\u00e4lkkyv\u00e4t kuin yksitellen poimitut jalokivet kukin omalla, kirkkaalla tavallaan.<\/p>\n\n\n\n

Vaikka teoksessa ei ole kerronnallisia elementtej\u00e4, sis\u00e4llytt\u00e4v\u00e4t sellaiset taiturit kuin Jyrki Karttunen<\/strong> ja Katri Soini<\/strong> yhteiseen duettoonsa el\u00e4m\u00e4nmittaisen matkan. Teoksen kaltaista puhtaan liikkeen t\u00e4ydellist\u00e4 juhlaa en muista pitk\u00e4\u00e4n aikaan n\u00e4hneeni.<\/p>\n\n\n\n

Railo mainitsi t\u00e4m\u00e4n lehden edellisess\u00e4 numerossa, ett\u00e4 sodan ja pandemian teemat n\u00e4kyv\u00e4t h\u00e4nen teoksessaan konservatismina. Bach-projekti<\/em> onkin pelkistetyn visuaalisuutensa, kansantansseista tuttujen kuvioidensa sek\u00e4 selkeydess\u00e4\u00e4n 60-luvun modernista tanssista muistuttavan liikekielens\u00e4 ansiosta vieh\u00e4tt\u00e4v\u00e4ll\u00e4 tavalla \u201dvanhanaikainen\u201d.<\/p>\n\n\n\n

Tunnelmaa tukevat Railon valmistamat abstraktit ja v\u00e4rikyll\u00e4iset animaatio, jotka projisoidaan n\u00e4ytt\u00e4m\u00f6n takasein\u00e4\u00e4n.<\/p>\n\n\n\n

Railo mainitsi olleensa aina sit\u00e4 mielt\u00e4, ettei kuolevaisten tulisi tanssia s\u00e4velt\u00e4j\u00e4neron tahtiin. Onneksi h\u00e4n ei voinut vastustaa kiusausta.<\/p>\n\n\n\n

Minna Tawast, Teatteri & Tanssi + Sirkus -lehti, 1.3.2023<\/strong><\/p>\n<\/div>\n

Katso esityksen tiedot: THE BACH PROJECT<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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Arkinen ja myyttinen kohtaavat<\/h4>\n
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Raisa Rauhamaa, Teatteri & Tanssi+ Sirkus lehti 2\/2022<\/p>\n

ARVOSTETTU AFORISTIKKO<\/strong> ja runoilija Mirkka Rekola<\/strong> (1931-2014) oli tuottelias yli viisikymment\u00e4 vuotta. Suomalaisen runouden kaanonissa Rekolan merkitys sotien j\u00e4lkeisen kirjallisuuden modernismin airuena on suuri. T\u00e4t\u00e4 taustaa vasten pid\u00e4n Simo Heiskasen<\/strong> l\u00e4ht\u00f6kohtaa tuottaa yhden miehen esitys Rekolan runojen maailmasta melkoisen uhkarohkeana taidetekona.<\/p>\n

Heiskanen on pit\u00e4nyt kaikki esityksen narut n\u00e4peiss\u00e4\u00e4n: ohjannut kokonaisuuden, s\u00e4velt\u00e4nyt materiaalin, luonut askelmerkit ja ideat sek\u00e4 visuaalisen toteutuksen sooloonsa, jota kolmimiehinen orkesteri, Milla<\/strong> Viljamaa<\/strong>, Sara Puljula<\/strong> ja Topi Korhonen<\/strong>, taidolla ja herkkyydell\u00e4 s\u00e4est\u00e4v\u00e4t.<\/p>\n

Mutta miten vaivattomasti eteenp\u00e4in virtaavan ja syv\u00e4llisen, laulua, liikett\u00e4 ja tekstej\u00e4 sis\u00e4lt\u00e4v\u00e4n esityksen Heiskanen onkaan valitsemistaan runoista onnistunut luomaan! H\u00e4n on sis\u00e4ist\u00e4nyt Rekolan runouden laadun, jossa arkinen ja myyttinen kohtaavat riveill\u00e4 ja niiden v\u00e4liss\u00e4.<\/p>\n

Min\u00e4 unohdin miten suuressa talossa asun<\/em> -teoksessa kuullaan tekstej\u00e4 muun muassa ik\u00e4\u00e4ntymisest\u00e4, tuulesta, muistista, vuodenajoista, linnuista ja ruusuista. Omaper\u00e4inen ja jokaista piirtoa my\u00f6ten hallittu toteutus on kuin pienoiskuvaelmien ryp\u00e4s, jossa n\u00e4k\u00f6alat avartuvat jokap\u00e4iv\u00e4isist\u00e4 havainnoista tavoittaen runouden t\u00e4rkeimm\u00e4n teht\u00e4v\u00e4n, arkitietoisuuden n\u00e4kym\u00e4tt\u00f6m\u00e4t tasot.<\/p>\n

HEISKANEN LAUSUU, laulaa ja liikkuu musiikin ja tekstin yhteismaastossa pakottomasti, on lavalla kuin kotonaan ja sulautuu koko kehollaan tarinoiden viet\u00e4v\u00e4ksi. H\u00e4n artikuloi ehe\u00e4n Rekola-maailman suoraan yleis\u00f6lle l\u00e4mm\u00f6ll\u00e4 ja selkeydell\u00e4.<\/p>\n

Runouden korkeammat olemisen kiteym\u00e4t kevenev\u00e4t Heiskasen k\u00e4sittelyss\u00e4. Varmalla l\u00e4sn\u00e4olollaan ja oivaltavilla, runoja kuvittavilla, pantomiinomaisilla piirroilla Heiskanen kirkastaa merkityksi\u00e4 niin, ett\u00e4 v\u00e4lill\u00e4 mysteereihin piiloutuvat tekstit saavat nokkelan kuvituksen. Toteutusta Rehev\u00f6itt\u00e4\u00e4 Tuomo<\/strong> Railon<\/strong> herk\u00e4ll\u00e4 k\u00e4dell\u00e4 tavoittamat tausta-animaatiot.<\/p>\n

Miltei kaksituntinen esitys on kaikkien aistien her\u00e4ttely\u00e4, jossa syd\u00e4n l\u00e4mpenee ja t\u00e4yttyy sek\u00e4 mieli sivistyy.<\/p>\n

El\u00e4myksen j\u00e4lkeen oli pakko kaivaa Rekolan runot esiin ja lukea uudelleen niit\u00e4 helmi\u00e4, joita Heiskanen auliisti jo yleis\u00f6lle jakoi.<\/p>\n<\/div>\n

Katso esityksen tiedot: I Forgot What a Big House I Live in<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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Glims & Glomsin mainio Antti Puuhaara el\u00e4v\u00f6itt\u00e4\u00e4 syksyisen p\u00e4iv\u00e4n<\/h4>\n
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Espoolainen Tanssiteatteri Glims & Gloms perusti jo paljon ennen koronapandemiaa Espoon keskuksessa sijaitsevaan kauppakeskus Entresseen kauppakeskusteatterin. Kyseess\u00e4 on Suomen Kulttuurirahaston tukema hanke, jonka tavoitteena on el\u00e4v\u00f6itt\u00e4\u00e4 tyhjill\u00e4\u00e4n olevia liiketiloja ja tuoda teatteria ihmisten keskelle paikkoihin, joissa he muutenkin liikkuvat. Esitykset ovat koko perheelle suunnattua fyysist\u00e4 ja nukketeatteria.<\/strong><\/p>\n\n\n\n

Pandemia katkaisi hyvin alkaneen toiminnan. Nyt kauppakeskusteatteri on aloittanut uudelleen uudella esityksell\u00e4. Vaikka kyseess\u00e4 on pop up-teatteri ja tila on suhteellisen pieni perusliiketila, Glims & Glomsin kauppakeskusteatteri ei ole satunnaisen oloista katuteatteria. Esitystilaan katsomoineen on satsattu niin, ett\u00e4 yleis\u00f6ll\u00e4 on mahdollisuus kokea t\u00e4ysipainoinen teatteriel\u00e4mys.<\/p>\n\n\n\n

Henkil\u00f6kunta h\u00e4t\u00e4apuhommissa<\/strong><\/p>\n\n\n\n

T\u00e4m\u00e4 n\u00e4kyy my\u00f6s syyskuussa ensi-iltansa saaneessa Antti Puuhaara<\/em> -esityksess\u00e4, joka on suunnattu yli 4-vuotiaille. Esityksen jokaiseen osatekij\u00e4\u00e4n, ja erityisesti sen visuaalisuuteen on panostettu.<\/p>\n\n\n\n

Tapahtumapaikkana on Pinkopahvilan kotiseutumuseo, jonne odotetaan teatteriseuruetta esitt\u00e4m\u00e4\u00e4n kansansatuun perustuvaa Antti Puuhaara-esityst\u00e4. V\u00e4\u00e4rink\u00e4sityksen takia ryhm\u00e4 ei saavukaan, joten museon henkil\u00f6kunnan ei auta kuin ryhty\u00e4 itse sadun esitt\u00e4jiksi, kun yleis\u00f6kin on jo paikalla.<\/p>\n\n\n\n

Nukke- ja esineteatteriin perustuva esitys pursuaa kekseli\u00e4it\u00e4 nukkeideoita, joista iso osa luodaan ja rakennetaan n\u00e4ytt\u00e4m\u00f6ll\u00e4. Muutenkin Karoliina Koiso-Kanttilan<\/strong> puvut ja tarpeisto, Metti Nordinin<\/strong>lavastus ja Leevi Lehtisen<\/strong> animaatiot ovat herkullisia. Niiss\u00e4 on huumoria, ripaus j\u00e4nnityst\u00e4 ja kauhuakin, v\u00e4rikyll\u00e4isyytt\u00e4 ja sopivasti kansanperinnett\u00e4. T\u00e4m\u00e4 kaikki mitenk\u00e4\u00e4n erityisesti osoittelematta. Pasi Pehkosen<\/strong> valot ja Simo Heiskasen<\/strong> musiikki ja \u00e4\u00e4nimaailma tukevat ja muotoilevat omalta osaltaan mainiosti tarinan kulkua.<\/p>\n\n\n\n

Tuomo Railon<\/strong> k\u00e4sikirjoitus seurailee selke\u00e4sti monipolvista tarinaa sirotellen mukaan komiikkaa ja aimo annoksen kansanperinnetietouttakin unohtamatta muutamaa ajankohtaista viittausta muun muassa toisten ihmisten ja luonnon kunnioittamiseen. Ohjauksessaan Railo on napakka ja niin rytmityksen kuin toimivan rakenteen sujuvasti hallitseva.<\/p>\n\n\n\n

Antti Puuhaaran loistavat esitt\u00e4j\u00e4t Johanna Kein\u00e4nen<\/strong>, Kaisa Niemi<\/strong> ja Tuomo Railo<\/strong> siirtyv\u00e4t sujuvasti n\u00e4yttelij\u00f6ist\u00e4 nukettajiksi ja tanssijoiksikin. Heid\u00e4n tulkinnoissaan museon henkil\u00f6kunnasta ja tarinan monista hahmoista on rehevyytt\u00e4 ja ironiaa, mutta my\u00f6s l\u00e4mp\u00f6\u00e4 ja syd\u00e4mellisyytt\u00e4.<\/p>\n\n\n\n

Antti Puuhaarassa on runsaasti tarttumapintaa isommillekin katsojille, se ei miss\u00e4\u00e4n tapauksessa ole mik\u00e4\u00e4n pikkulasten esitys. Vajaan tunnin kest\u00e4v\u00e4 esitys sopii erinomaisesti syksyisen kauppamatkan tai p\u00e4iv\u00e4koti\/koulup\u00e4iv\u00e4n el\u00e4v\u00f6itt\u00e4j\u00e4ksi ja hyv\u00e4n mielen tuojaksi.<\/p>\n\n\n\n

Annikki Alku, Demokraatti 8.10.2021<\/strong><\/p>\n<\/div>\n

Katso esityksen tiedot: Antti Puuhaara<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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Glims & Gloms tarjoaa hulvattomia hetki\u00e4 ja arvokasta polttoainetta lasten mielikuvitukselle<\/h4>\n
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Suvi Satama<\/strong>, Turun Sanomat, 15.11.2020<\/strong><\/p>\n\n\n\n

Glims & Gloms: DJ M\u00f6lytoosa ja Mummu<\/strong><\/p>\n\n\n\n

K\u00e4sikirjoitus ja ohjaus Simo Heiskanen, lavastus Tuomas Vellamo, puvut Nina Ukkonen, valot ja videot Ville Virtanen. Kauppakeskus Skanssissa 13.11.<\/em><\/p>\n\n\n\n

Simo Heiskasen <\/strong>k\u00e4sikirjoittama DJ M\u00f6lytoosa ja Mummu<\/em> on kouluik\u00e4isiin vetoava musiikkikomedia P\u00f6lym\u00f6ly-nimisen radioaseman ty\u00f6st\u00e4. Vaikka ennakkoajatukseni pop up -teatterin toimivuudesta Skanssin kauppakeskuksessa on varovaisen ep\u00e4ilev\u00e4, Skanssin tilaan on saatu luotua maagista teatterin tunnelmaa.<\/p>\n\n\n\n

Lavalla radio-ohjelmaa juontaa hulvaton Simo Heiskanen DJ M\u00f6lytoosana ja topakka Kaisa Niemi<\/strong> Mummuna. Kaksikon seurassa mielikuvitus vie katsojan mukanaan naurun ja ihmetyksen poluille. <\/p>\n\n\n\n

Istun katsomossa 5-vuotiaan poikani kanssa, joka toteaa, ett\u00e4 Heiskanen on erityisen taitava tanssimaan ja ett\u00e4 kaksikko lavalla saa h\u00e4nelt\u00e4 \u201d12 t\u00e4hte\u00e4 ja on siis aika hyv\u00e4\u201d.<\/p>\n\n\n\n

Heiskasen ilmeikkyys ja luonteva lavakarisma on toden totta my\u00f6s aikuiselle kiinnostavaa seurattavaa. Kaisa Niemi touhukkaana mummuna ravistelee perinteisen mummon stereotypioita modernilla otteella: vaikka mummo on marjamets\u00e4ss\u00e4 ja siivoaa, h\u00e4n my\u00f6s tanssii p\u00f6yd\u00e4ll\u00e4 ja revittelee luudan kanssa ymp\u00e4ri tilaa.<\/p>\n\n\n\n

Nina Ukkosen <\/strong>puvut puhkuvat mielikuvitusrikkaita yksityiskohtia ja nousevat teatteriel\u00e4myksen keski\u00f6\u00f6n. Poikani kysyy, ovatko nuo aivan oikeita ihmisi\u00e4 \u2013 hahmojen ulkoinen olemus painuu n\u00e4in my\u00f6s pienen katsojan mieleen.<\/p>\n\n\n\n

Paikoitellen juoni j\u00e4\u00e4 junnaamaan paikoilleen ja tanssia olisi saanut olla enemm\u00e4n, koska liikkua kaksikko osaa. Kohtaus, jossa DJ M\u00f6lytoosa ja Mummu siirtyv\u00e4t juontamaan urheiluradio-osuutta, on valloittava. Pingispallot saavat luudasta kyyti\u00e4 ja Niemi ottaa eturivin lapset oivaltavasti mukaan peliin.<\/p>\n\n\n\n

DJ M\u00f6lytoosa ja Mummu <\/em>osoittaa, miten k\u00f6mm\u00e4hdykset kuuluvat arkeen ja niist\u00e4 selvit\u00e4\u00e4n yhdess\u00e4 ja sen avulla, ett\u00e4 muistetaan, ett\u00e4 itselle on hyv\u00e4 my\u00f6s nauraa.<\/p>\n\n\n\n

Kiert\u00e4v\u00e4n pop up -teatterin idea on loistava, koska se tuo teatterin kaikkien ulottuville. N\u00e4in yh\u00e4 useampi p\u00e4\u00e4see kokemaan esitt\u00e4vi\u00e4 taiteita, joilla on keskeinen merkitys arjen irtiottojen mahdollistajana ja mielikuvituksen vapauttajana.<\/p>\n\n\n\n

<\/p>\n<\/div>\n

Katso esityksen tiedot: ><\/div>\n<\/div>\n\n\t\n\t\t
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MR HILLO’S DELIGHTFUL CONFUSION<\/h4>\n
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Anniki Alku\u2019s review in Savon Sanomat 28th of June 2018 
translated into English<\/p>\n\n\n\n

Kuopio Dance Festival has usually mainly focused on performances for adult audiences. That is why it is very good that this year, Glims & Gloms’ JAM \u2013 Mr Hillo’s Confusion is in the festival’s programme. The performance for the whole family premiered last autumn.<\/p>\n\n\n\n

If the name sounds funny and absurd, so is the performance. Simo Heiskanen, one of the two founders of the theatre, created the choreography and composed the music for JAM. It is wistfully humorous and progresses using the logic of association. It is the story of a Chaplin-like hobo, Mr. Hillo (\u201djam\u201d). He carries all his belongings and memories with him in a pile of suitcases that contain everything from flowers to a big top.<\/p>\n\n\n\n

When Hillo’s most precious treasures, Esmeralda, Vilivili and Urho, come to life, things start to happen. Nothing very extraordinary, but mishaps, a little blustering, singing and beatboxing as well as eating jam, of course. The point of view is a little bonkers and based on clownery.<\/p>\n\n\n\n

Heiskanen, who plays the role of Mr Hillo in a warm-hearted manner, has three strong personas. Jonna Aaltonen’s Urho is a very charming little man, who will not let anyone walk over him. Eero Vesterinen’s Vilivili is an adorable big clown, and Mikko Makkonen’s Esmeralda is a shy girl with surprising talents.<\/p>\n\n\n\n

In addition to the titillating role portrayals, each one of the characters is a brilliant dancer whose precision of movement and stage presence enchant.<\/p>\n\n\n\n

The visual design created by Karoliina Koiso-Kanttila is colourful and has a pinch of fairy-tale. The costumes meander mischievously, but they take a stylish bow to circus tradition.<\/p>\n\n\n\n

JAM can be watched only as a well-made dance comedy, but under the surface there are deeper tones, too: the justification of being one’s true self and the transience of life. Big matters that are not imposed, but made visible.<\/p>\n<\/div>\n

Katso esityksen tiedot: JAM – Mr Hillo’s Confusion<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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HATRED WILL NOT MAKE US FREE<\/h4>\n
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Minna Tawast, Teatteri & Tanssi + Sirkus -magazine, 6-7\/ 2018<\/em><\/p>\n\n\n\n

Tuomo Railo has been combining speech and movement in his works in a creative way for long already, looking for the common force of language and movement. In Omnipotens<\/em>, which premiered in 2016, Railo seemed to take the use of speech to the extreme; it was there more than in a traditional theatre monologue. The lates work Valkoisten vankina<\/em> (Imprisoned by the Whites) works with the same principle, but the relation between movement and speech is less provocative, smoother. Narrative monologues and dialogues that carry the storyline change or are organically united with movement. Sometimes one forgets totally which one is in question.<\/p>\n\n\n\n

Besides Railo, the story is told by Sanni Giordani, Kaisa Lepp\u00e4nen, Jukka Tarvainen and Jussi V\u00e4\u00e4n\u00e4nen, who are outstanding. They act skilfully, too, from a little distance.<\/p>\n\n\n\n

It fits the story’s dispassionate narration, which feels especially valuable because Valkoisten vankina<\/em> is based on the memoirs of Railo’s grandfather’s brother by the same name. He <\/p>\n\n\n\n

recounts his experiences as a Red prisoner at the prison camps in Kokkola and Tammisaari in 1918. Out of the memoirs, Railo has dramatized, choreographed, directed and staged with drawings an appropriately paced, breathing work.<\/p>\n<\/div>\n

Katso esityksen tiedot: Imprisoned by the Whites<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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A STRONG AND IMPORTANT WITNESS FROM THE CIVIL WAR<\/h4>\n
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Pekka Railo’s experiences from a prison camp in Dragsvik became material for his brother’s grandson’s physical portrayal on stage.<\/strong><\/p>\n\n\n\n

Tove Djupsj\u00f6backa, Hufvudstadsbladet, 19 October 2018<\/strong><\/p>\n\n\n\n

Glims & Gloms Dance Company go their own way on stage and create performances that are unique, but very different from each other \u2013 perhaps it’s not always so easy for the public to find a gem among performances for children, bubbly fireworks like the musical of Helin\u00e4 Rautavaara or serious and very topical performances, like the one on the Breivik case.<\/p>\n\n\n\n

The latest work Valkoisten vankina <\/em>(Imprisoned by the Whites) is closest to the latter, a serious and thought-provoking witness portrayal from The Finnish Civil War. One points no fingers and makes no direct connections to the present, but between the lines I’m reading a certain concern for the society today \u2013 for example: look what can happen if the judiciary is totally hollowed out. History reminds us also of some details. Leakages to the media can have an important role in making changes.<\/p>\n\n\n\n

Tuomo Railo is behind the script, direction, projections, and the intresting true story he wants to tell is the story of his father’s great-uncle Pekka Railo’s different testimony from a prison camp in Dragsvik on how one as a Red prisoner really can contribute. The older Railo starts a pharmacy on the camp and keeps a list of the dead and the causes of death. This information lands finally in proper hands and helps the public to find knowledge of the horrible circumstances on the camps. Later he helps to rebuild the country as a member of the parliament and a assistant city manager in Helsinki, among other things.<\/p>\n\n\n\n

Physical theatre<\/strong><\/p>\n\n\n\n

As a performance, this falls in the category of physical theatre. Dance is present throughout but totally subordinate to the text. The dramaturgy has a nice flow, and the first scene is performed brilliantly \u2013 one gets at once the idea behind the role casting: everyone plays all roles, e.g. the role of Pekka Railo is constantly moved forward from one person to the next. One might think that this would water down the character of the role, but instead, it helps to make the lead complex, especially as it is played by both men and women.<\/p>\n\n\n\n

The flow continues and the dramaturgy is, for the most part, successful. At times, there is a little too much text \u2013 it feels like one might need a little more air within the text to really take in the story. It is based on Railo’s journal portrayl, and the text is therefore concise and matter-of-fact, amazingly objective in many places. Sometimes one clings to drawing caricatures seasoned with thoughtful language of movement, especially when it comes to the judges. The time leap in the middle feels also a little sudden. The ensemble is even throughout and expressive in their performances.<\/p>\n\n\n\n

The performance catches especially well the apathy on the prison camp, how hunger draws nearer the prisoners and makes them pine away quietly. Such moods are not dramatic, so this suggests that here the combination of text and lyrical movement do themselves justice.<\/p>\n<\/div>\n

Katso esityksen tiedot: Imprisoned by the Whites<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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VALKOISTEN VANKINA CONVEYS FORCEFULLY THE HELL OF A PRISON CAMP FOR REDS<\/h4>\n
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Glims & Gloms dance company’s new production Valkoisten vankina (Imprisoned by the Whites) is based on Pekka Railo’s memoirs by the same name. The performance portrays Railo’s experiences on prison camps for Red prisoners in Kokkola and Tammisaari in the aftermath of The Finnish Civil War in 1918.<\/em><\/p>\n\n\n\n

Eeli Vilhunen, Demokraatti, 19 October 2018<\/em><\/p>\n\n\n\n

Railo’s brother’s grandson, the dance company’s artistic director Tuomo Railo, has directed the performance and answers for the dramatization of the play as well.<\/p>\n\n\n\n

Glims & Gloms combines the means of performing arts in their works, but their roots are in dance. This shows in the strong physical expression in Valkoisten vankina<\/em>. Railo, who has his background in dance, not only alternates speech drama and movement in his direction, but these go one on the other throughout the story.<\/p>\n\n\n\n

The scene that opens the performance, the interrogation scene, where the punishing of the prisoners is done using movement, is great, and it makes the spectator at once to witness what it meant to be a prisoner for the Whites. In scenes like this the parallelism of movement and speech flows and physicality strengthens the drama.<\/p>\n\n\n\n

The collaboration of movement and speech is rewarding to watch throughout the whole 1,5 hours of the performance. The physicality absorbed into the scenes is, at its best, resourceful and adds an interesting level to Pekka Railo’s story, a level which functions also as a lightening factor when describing a cruel period.<\/p>\n\n\n\n

Valkoisten vankina<\/em> is visually beautifully controlled and simplified. For the most part, there are only four chairs and a table on stage in addition to the performers. The projected drawings from the prison camps created by Tuomo Railo dominate the staging. The colours of the projections are in beautiful harmony with Karoliina Koiso-Kanttila’s costumes and create a complete whole. The plain and wide stage produces the space needed for the performers’ physical expression as well.<\/p>\n\n\n\n

Pekka Railo’s memoirs have been transposed to the stage in an excellent manner, even if at times the source work shines through in a disturbing way. In practice, this comes out as excessive narrativeness, when one is forced to explain the background for important events to the spectators. At times, the performance shows itself more like a series of isolated events, which makes the dramatic impression thinner and thus alienates the spectator too much from the performance.<\/p>\n\n\n\n

The portrayal of the times is, however, plausibly dramatized. The everyday life of Red prisoners and the inhuman conditions on the prison camp and the poor walk of life are portrayed touchingly. The performance brings associations to the present day’s invariably toughening political values.<\/p>\n\n\n\n

Valkoisten vankina<\/em> is a performance run by an ensemble. The five-person performer group works fantastically together and changing roles on the go from one performer to the next works well in an equal company, which brings an airy addition to the performance’s tapestry of speech and movement. Not even the fire alarm which annoyingly interrupted the performance had an effect on the intensity of the group’s expression, and eventually, one hardy noticed the break.<\/p>\n\n\n\n

As a whole, Valkoisten vankina<\/em> successfully exposes an important period of our history and makes us, as Tuomo Railo says, \u201dfeel gratitude towards the great and the silent who built our society.\u201d<\/p>\n<\/div>\n

Katso esityksen tiedot: Imprisoned by the Whites<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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DANCE AND THEATRE MERGE IN A PRISON CAMP PORTRAYAL THAT SHAKES \u2013 THE RESULT IS ENSEMBLE THEATRE AT ITS BEST<\/h4>\n
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Tuomo Railo’s Valkoisten vankina (Imprisoned by the Whites) is based on his great-uncle’s experiences.<\/em><\/p>\n\n\n\n

Jussi Tossavainen, Helsingin Sanomat, 19 September 2018<\/em><\/p>\n\n\n\n

Shocking start. One at a time is taken for interrogation or rather for torturing. Most of them are journalists. The case is freedom of speech \u2013 the analogy to the present is clear. We are on a camp for Red prisoners, where there is no human dignity. Most of them deny having committed any crime, but one is a traitor trying to save his own skin.<\/p>\n\n\n\n

Valkoisten vankina<\/em> is based on scriptwriter\/director Tuomo Railo’s great-uncle’s own experiences. The theme fits therefore well into the present year. \u201cWell\u201d might not be the correct word \u2013 a better one might be \u201ddeadly\u201d.<\/p>\n\n\n\n

This is the story of a camp where Red prisoners a concentrated. So it is a concentration camp, where staying alive is the only hope. For food, one gets a little piece of bread and water. To somehow survive, people try to make themselves useful in different ways, by cleaning or by using their medical skills.<\/p>\n\n\n\n

The exciting thing about the performance is the way it’s done. Speech combined to continuous movement, even dance. A genre like this is quite rare. This does not mean that first comes a monologue and then a bit of dance. Movement runs continuously next to speaking. It does not illustrate or underline it. They are equal.<\/p>\n\n\n\n

Melodrama is a type of music where speech and music go one on the other. Here you could speak of dancing melodrama. The story and the plot run smoothly forward, but the movement runs by their side. This does not at all distract the story, but forms a well-balanced synthesis. This synthesis is very powerful, even though it’s horrible as well. As a traditional play, this would only be a historical image.<\/p>\n\n\n\n

In some places, overdoing the movement lightens the serious theme so much that it makes one laugh. In the court martial, the court decision is read by chanting aloud and dancing Rumba to the rhytm of Besame mucho<\/em>. Colliding the serious and the comical creates a strong and resonating effect. These moments of comic relief ease the spectator’s excessive feelings of angst.<\/p>\n\n\n\n

The Tammisaari camp was built from nothing without any existing structures or infrastructure, as one would say nowadays. The prisoners had to create it themselves, starting from bookkeeping of the dead. The story is shockingly ghastly, but it is alienated by physicality, movement and dance.<\/p>\n\n\n\n

Valkoisten vankina<\/em> is a kind of tendency theatre, preaching like e.g. Lapualaisooppera<\/em>, but instead of singing and music, the means are physicality and dance. At times, dance seems to be separate from the text, but partly, it brings into mind Asian theatre, where every gesture has a corresponding thought or emotion.<\/p>\n\n\n\n

The actor-dancers have all in their many roles excellently taken in the idea of the genre and the thought. This is ensemble theatre at its best.<\/p>\n<\/div>\n

Katso esityksen tiedot: Imprisoned by the Whites<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
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LOTS OF FUEL FOR IMAGINATION<\/h4>\n
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Anne Saarikettu, Keskipohjanmaa February 14, 2018<\/p>\n\n\n\n

Glims & Gloms, who performed at dance festival Kokkolan Talvitanssit<\/em>, is an award-winning dance theatre from Espoo aiming at producing performances that include touching comedy, surprising humour and elevating dance.<\/p>\n\n\n\n

On the big stage the audience witnessed Jam \u2013 Herra Hillon h\u00e4mmennys<\/em> (JAM \u2013 Mr Hillo’s Confusion). The auditorium was full: children under the age of seven and school children with adults accompanying them.<\/p>\n\n\n\n

The programme leaflet describes the performance like this: Mr Jam Hillo carries all his belongings with him. Having lost his home, he lives the life of a hobo and wanders around dragging his bags. Inside the load of luggage, there is everything one could need, but also antiques, the value of which is only understood by Mr Hillo himself. The former junktrader’s most valuable treasures \u2013 Esmeralda, Vilivili and Urho \u2013 come into life for the horror of Hillo and for the joy of the children.<\/p>\n\n\n\n

It was uplifting to observe how the children were absorbed by the performance and how they reacted, e.g. their intense gazes, astonished questions and their laughter immediately after something intresting took place on stage.<\/p>\n\n\n\n

Even from an adult point of view, the under an hour long performance was an interesting journey to a world of versatile physicalness, colours, shadows and sounds.<\/p>\n\n\n\n

I can only guess how and for how long the performance will reflect in the child spectators’ lives, as it fuels the imagination in many different ways. I bet the children will keep taking in influences of the movements of the characters as well as from the costumes and other props in their role plays for a long time.<\/p>\n\n\n\n

One of the under seven-year-old children in the audience described the performance as funny and even scary. \u201dI recommend this to 4-year-olds,\u201d the child said. So do I.<\/p>\n\n\n\n

I also give thanks and take pleasure in how diverse Kokkola’s cultural life is, even for children.<\/p>\n<\/div>\n

Katso esityksen tiedot: JAM – Mr Hillo’s Confusion<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
\n

SIMO HEISKANEN’S DISARMINGLY FUNNY RAXU TASKUNEN<\/h4>\n
\n

Annikki Alku, Demokraatti, 3 December 2018<\/p>\n\n\n\n

Raxu Taskunen is a little and quite endearing furry creature who loves pockets and puffs. Raxu, created by Simo Heiskanen of the Espoo-based Glims & Gloms theatre, has adventures from one pocket to the next. Sometimes he ends up in the sewers while escaping secret detective H\u00f6ntt\u00f6nen and finds a friend, cockatoo Rudolf, from the other side of the world, in Australia.\u00a0Raxu Taskunen<\/em>\u00a0is written, composed, directed and performed by Heiskanen, and it was grandiosely defined as a puppet theatre musical. The performance that can fit in almost any room, is indeed a musical with all its songs of different styles, but above all it is a both verbal and visual firework. <\/p>\n\n\n\n

The glowing traditional puppet theatre scene created by Anne Aario and Nina Ukkonen resembles an oriental fairy tale. The hand puppets and finger puppets are colourful and resourcefully imaginative. They radiate fairy tale magic.<\/p>\n<\/div>\n

Katso esityksen tiedot: Raxu Taskunen<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
\n

THE PUPPET MUSICAL WRITTEN AND PERFORMED BY SIMO HEISKANEN EDUCATES AND ENTERTAINS<\/h4>\n
\n

Jussi Tossavainen, Helsingin Sanomat, 3 May 2019<\/p>\n\n\n\n

DANCE THEATRE Glims & Gloms’ Simo Heiskanen is a true Renaissance man from Espoo. He dances, acts, writes scripts, composes and sings. Raxu Taskunen<\/em> is a leap into the world of puppet theatre. Almos everything is done by Heiskanen.<\/p>\n\n\n\n

The work is described as puppet theatre musical. This is certainly not a big musical, as institutional theatres tend to call their musicals nowadays. Everything is small, doll-size.<\/p>\n\n\n\n

The whole performance can almost be fitted in a pocket, and what could be more fitting when the main character is called Taskunen, \u201dPockets\u201d, and he lives and travels in people’s pockets.<\/p>\n\n\n\n

The compact performance does not call for a lot of space or resources. Raxu Taskunen<\/em> has been performed in a shopping mall, and a kindergarten tour is planned for the autumn.<\/p>\n\n\n\n

The word \u201dmusical\u201d is catch-all here. The almost throughout sung puppet fun is perhaps closer to modern opera.<\/p>\n\n\n\n

Heiskanen does not follow the path of least resistance. The reciting and winding music does not offer clear melodies or catching earworms. Hearing it for the first time, its is pointless to try to recall \u201darias\u201d or hits.<\/p>\n\n\n\n

Simo Heiskanen plays all roles by himself. Raxu Taskunen himself is a hybrid of a hand and a finger puppet \u2013 a likeable but undefinable hairy creature, whose passion and bad habit is puffs.<\/p>\n\n\n\n

He avoids boring things, like going to bed early or eating healthy food. His worst enemy is secret detective H\u00f6ntt\u00f6nen who presents himself as a moralist and who is a tedious person in general.<\/p>\n\n\n\n

The state of affairs is clear. Children love anarchic characters who are against authorities and grown-ups, from Pippi Longstocking to the Moomins.<\/p>\n\n\n\n

However, Heiskanen’s script has a modern and important educational and enlightening tone.<\/p>\n\n\n\n

In Australia, Taskunen experiences a conversion with the help of cockatoo Rudolf (my favourite character in the performance) and learns to eat grains and nuts instead of salty and greasy puffs. He does not shun greens either any more.<\/p>\n\n\n\n

Heiskanen does not overexplain or preach like a health evangelist. The theme is barely introduced and followed through during the short performance.<\/p>\n\n\n\n

One might have finger-wagged more without losing credibility. Things are understood when a little creature acts as an example.<\/p>\n\n\n\n

In his text, Heiskanen uses funny rhyming and nonsense that is considered agreeable to children. Some comments might only be understood by adults even though the charmingly homespun performance with all its conventions is clearly directed to children.<\/p>\n\n\n\n

One could very well add a discussion on the theme.<\/p>\n<\/div>\n

Katso esityksen tiedot: Raxu Taskunen<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
\n

SIMO HEISKANEN’S AMPLY MEANDERING SOLO WORK IN A SHOPPING MALL SWEEPS THE SPECTATORS IN A WORLD OF PUFFS AND RHYMES<\/h4>\n
\n

Anniina Karhu, Turun Sanomat, 15 September 2019<\/p>\n\n\n\n

It’s fun that in a shopping centre like Skanssi, you can between shopping \u2013 or even especially \u2013 make a visit to a theatre. The Espoo-based dance company Glims & Gloms got the idea to brighten up empty commercial premises by offering artistically ambitious professional theatre in an easily accessible form.<\/p>\n\n\n\n

In Turku until the 29th<\/sup>, it is possible to throw oneself into the bizarre world of Raxu Taskunen. The hairy creature is greedy for salty and greasy puffs, which he looks for in different kinds of pockets. Raxu’s speedy adventure takes the spectator from pockets to deep sewers and from there, through the drain trap all the way to Australia.<\/p>\n\n\n\n

The solo work by Simo Heiskanen, who is mainly known as a choreographer, is ample and meandering. The ampleness comes from elements of story-telling and verbal expression, but also from puppets and many expressive characters. Besides Raxu, an individual gallery of characters appears on the stage. Their roles vary from adversary to helper.<\/p>\n\n\n\n

The clever rhyming of songs offers the spectators many fun moments of insight. Even a stealthy lesson is hidden in the package: healthy eating habits and regular bed times pay off. Thoughtless pursuit of instant pleasure will, by contrast, often prove harmful.<\/p>\n\n\n\n

Heiskanen’s gestic expression is eloquent and precisely accentuated. Even for the songs that play with different styles, he finds a wide scale of tones.<\/p>\n<\/div>\n

Katso esityksen tiedot: Raxu Taskunen<\/a>><\/div>\n<\/div>\n\n\t\n\t\t
\n

MR HILLO SUCCEEDS IN CONFUSING<\/h4>\n
\n

Jussi Tossavainen\u2019s review in Helsingin sanomat 4th of September 2017<\/p>\n\n\n\n

I thought I would say that Glims & Gloms Dance Company\u2019s Mr Hillo\u2019s Confusion is not theater for children. I want to correct my opinion. This is specifically for children, and especially intended to be seen by teenagers and their educators.<\/p>\n\n\n\n

Here Espoo has an artist couple that the city perhaps does not deserve. Simo Heiskanen and Tuomo Railo ventilate attitudes on every front: as dancers and as makers of children\u2019s theater, and Railo as a physically strong dancer as well as a talented artist.<\/p>\n\n\n\n

Going to see the performance of Heiskanen\u2019s new JAM \u2013 Mr Hillo\u2019s Confusion, I thought I was going to a jolly, traditional Finnish children\u2019s theater performance, but it turned out to be anything but that. Drawing from the tradition of Commedia dell\u2019arte, the performance presents the archetypal roles, but mixes them merrily. It doesn\u2019t matter which role each and everyone is playing.<\/p>\n\n\n\n

Heiskanen himself acts as the master of ceremonies who presents the characters, wearing a classical clown\u2019s makeup, of course. The court jester has always gotten to tell the truth in a clown\u2019s costume.<\/p>\n\n\n\n

The performance confuses how you think and how you could think in a different way. Mikko Makkonen plays the role of the charming Esmeralda without making the character a drag show travesty. In his floaty skirt and princess costume he does not taunt girlhood.<\/p>\n\n\n\n

Jonna Aaltonen in the role of Urho does not choose the most obvious path, either. She has realised that being a man doesn\u2019t mean chortling and groin rubbing. Urho is, despite his name, a small person who is carried and tossed around by others. Gender stereotypes get mocked without a trace of bitterness.<\/p>\n\n\n\n

I\u2019ve always loved Eero Vesterinen\u2019s natural way combining motion and expression. Now he has been given, according to my interpretation, the role of Arlecchino. In this role, you can say anything without gendering. And he certainly does! Vesterinen\u2019s motion and body language feature every little nuance that you can imagine to be expressed. I could watch his physical presence forever.<\/p>\n\n\n\n

Heiskanen himself has composed the music for his work. As a renaissance character, he manages to make pastiches of the piano music accompanying silent movies and sound effects all the way to the strong ballads of the political song movement.<\/p>\n\n\n\n

The style chosen for Mr Hillo\u2019s Confusion \u2013 combining classical theater style with silent movies, miming and slapstick \u2013 works perfectly. The name of the work tells and does not tell something of it. This does, after all, create confusion.<\/p>\n<\/div>\n

Katso esityksen tiedot: JAM – Mr Hillo’s Confusion<\/a>><\/div>\n<\/div>\n\n\t\n\t\n\t\n\t\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"parent":1560,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-1567","page","type-page","status-publish","hentry"],"yoast_head":"\nReviews -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/glimsgloms.fi\/en\/palaute\/arviot-esityksista\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reviews -\" \/>\n<meta property=\"og:url\" content=\"https:\/\/glimsgloms.fi\/en\/palaute\/arviot-esityksista\/\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/glimsgloms\" \/>\n<meta property=\"article:modified_time\" content=\"2020-09-22T16:55:09+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:site\" content=\"@Glimsgloms\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/en\\\/palaute\\\/arviot-esityksista\\\/\",\"url\":\"https:\\\/\\\/glimsgloms.fi\\\/en\\\/palaute\\\/arviot-esityksista\\\/\",\"name\":\"Reviews -\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/#website\"},\"datePublished\":\"2020-09-10T13:01:34+00:00\",\"dateModified\":\"2020-09-22T16:55:09+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/en\\\/palaute\\\/arviot-esityksista\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/glimsgloms.fi\\\/en\\\/palaute\\\/arviot-esityksista\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/en\\\/palaute\\\/arviot-esityksista\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/glimsgloms.fi\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Feedback\",\"item\":\"\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Reviews\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/#website\",\"url\":\"https:\\\/\\\/glimsgloms.fi\\\/\",\"name\":\"\",\"description\":\"Dance Theatre for All\",\"publisher\":{\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/glimsgloms.fi\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/glimsgloms.fi\\\/#organization\",\"name\":\"Tanssiteatteri Glims & Gloms - 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