 For those who have been marginalized, othered, bullied, who have been brought up in a multilingual and multicultural family and who are interested in human rights and equality, Ovllá is a must see. The main character is a Finnish man with Sámi roots. Due to his family situation, he had to leave home and go to boarding school. When he returns to Lapland for a music festival, he meets a Sámi woman and they fall in love. Their love story is a catalyst that opens up his history, his trauma, his identities, colonization, socialization and how they, as a couple, want to raise their child. Classic Sámi symbols such as the kuksa, a handcrafted wooden cup, were highlighted. This could be seen as a cliché, but it could also be seen as a method to bluntly show what's in front of you, what is culture, what is important. The play is filled with symbolism that one who is not that familiar with Sámi culture would have to do research. In that sense, the script is catered to those who know nothing about Sámi culture and history and to those who are very well informed. The music is gorgeous. The joiking is a form of story telling in itself! The operatic singing in the school and other scenes, shows not only a distinction between the characters, but also between cultures and hierarchies within institutions. The creative and intuitive flow of joiking as opposed to the strict and unforgiving nature of opera shows these social constructs in a powerful and musical way. I was lucky to have been able to watch this performance twice. Both times showed me different aspects of the story as there is so much to catch. Also, my seat offered me different views of where my attention lands. This was a true gift to see all the details from different angles. The first time I watched the play without subtitles on my phone and the second time with subtitles. Both versions offered me different experiences of understanding and empathising with the story and characters and relating it back to my own life and my own struggles with identity through language, societal norms and location. Over the past few months, I've had heartfelt conversations with many people about Ovllá. It brings out all kinds of reactions, memories and curiosities in us. I went with a friend and this is what she thought: Pidin Ovlan isän näyttelijästä, hän näytteli roolinsa vaikuttavasti. Pidin myös oopperan laulajista - opettaja ja rehtori olivat vaikuttavia. Esityksessä oli kuvattu hyvin sen ajan Suomen yhteiskunnan ilmapiiriä. En pitänyt siitä, että esitteessä luki ooppera, vaikka esityksessä oli hyvin vähän oopperaa. Yleistunnelma oli hyvä ja esityksestä jäi miellyttävä muisto. I’m a member of the Oulu Theatre’s Audience Committee and received tickets to the performance. We aren’t critics; rather, we share the perspectives of ordinary theatregoers on social media at a time when the number of theatre reviews is on the decline.
Kuulun Oulun teatterin Näyttämöraatiin ja sain liput näytökseen. Emme ole kriitikkoja, vaan tuomme maallikkojen näkemystä teatterista someen ajassa, jossa teatteriarvioiden määrä on laskusuunnassa. #Näyttämöraati #OulunTeatteri #PuhettaTaiteesta If you did not get a chance to see Ovllá at Oulu theatre, go visit the Eanangiella - Maan kieli - Voice of the Land exhibition at Oulu Art Museum. It is "a major exhibition of Sámi art and duodji explores the diversity, resilience and sustainability of Sámi culture." This is truly a special and powerful exhibition.
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I am privileged to be a part of Oulu Theatre's Audience Committee (Oulun teatterin Näyttämöraati). Our group of diverse individuals go to the theatre and share our views of the performances. Here are my thoughts on Anna Karenina. The stage direction of Oulu theatre’s Anna Karenina, directed by Anne Rautiainen, flowed in a way that kept the audience engaged with the tumultuous love story in a visceral way. The movement between the actors and the shifting of the scenes were choreographed so that the weight of pain as well as intensity of the friction and amour channeled us to a different era. The costumes were a vessel that gave us a glimpse of Imperial Russia and allowed us to touch on societal norms and expectations put upon women, men, and marriage, for example. The set design was also beautiful and strategic with their usage of symbolism. Strong motifs such as the train could be seen as a form of travel, but also a marker of time and class and on an emotional level – escapism. The bed was a visual catalyst used not only as a place of passion, but also as an island to drown oneself in depression and sorrow were used in a magnificent way. While there was a lot to process, I thought that the performance was slightly too long. The last half hour was repeating itself without bringing new light or angles to the story or character development. I would have wanted this version of Anna Karenina to use Tolstoy’s original story to challenge current norms in society. The romance scenes on stage seemed a bit banal as that is what generally what happens on film and tv, but why was it done in the theatre? With great classics such as this one, I think Tolstoy’s Anna Karenina can be an inspiration for us to rethink how to creatively portray and critically engage with important topics such as mental health, classicism, capitalism and relationships. I went with a friend and this is what they thought of the play: Pidin näytelmän visuaalisesta ilmeestä eli lavastuksesta ja puvustuksesta. Näytelmän rakenne oli mietitty taidokkaasti, tanssi toi esitykseen kiinnostavaa rytmillisyyttä ja modernia tuulahdusta muuten niin perinteiseen tarinaan. Nämä kannattelivat väliaikaan asti. Sen jälkeen esitys alkoi pahasti junnaamaan paikallaan ja toistamaan itseään. I’m a member of the Oulu Theatre’s Audience Committee and received tickets to the performance. We aren’t critics; rather, we share the perspectives of ordinary theatregoers on social media at a time when the number of theatre reviews is on the decline. Kuulun Oulun teatterin Näyttämöraatiin ja sain liput näytökseen. Emme ole kriitikkoja, vaan tuomme maallikkojen näkemystä teatterista someen ajassa, jossa teatteriarvioiden määrä on laskusuunnassa. #Näyttämöraati #OulunTeatteri #PuhettaTaiteesta 
Tove Jansson's Taikatalvi (Magic Winter) is a classic Moomin story published in 1957. This is a tale of Moomintroll waking up in the middle of a winter only to encounter many mysteries of seasons, nature and friendship. Through life size puppetry we see many beloved Moomin characters come to life: pragmatic and compassionate Too-Ticky, rambunctious and stubborn Little My, curious and adventurous Moomintroll, the collecting and rule abiding Hemulen and the Ancestor who creaks in the corners. Helena Markku's beautiful job of designing the puppets along with Merja Pöyhönen's direction of the play created a peaceful, playful and magical twist to Magic Winter on stage.
What I loved the most is how light and shadow was played with on stage. The softness and the wonder from the experimental usage of stage lights gave the sense of snow falling from trees onto your head or even watching Moomintroll play in a mountain of snow, for example. The portrayal of northern lights, the darkness of the winter and the gradual shift to more sun in the spring all came to life through the fantastic stage direction. The movement of the puppets was fun to watch. Sometimes it would take up to three puppeteers to move a puppet. It wasn't distracting through. If anything, it was another point of interest for me as simple movements should not be taken for granted. The tempo was relaxing and the sound design flowed with the Moomintroll's adventure through winter as well as birds and other life forms waking up for spring. The play is suitable for all ages. Most of the audience were young children with adults or caregivers. Oulu theatre does a good job in making this a positive and inclusive experience for people of all ages. Six year old Lucas, as did many other children, needed a cushion to put on his seat to make him just a tad taller to see the stage from the back row. After the show, it was also fun to stroll through the photo exhibition of the play on the second floor of the theatre. That gave us a time to reflect on the play, to talk about the characters and other Moomin stories. Esityksessä kivaa oli isoisä. Lucas ei tykännyt lopusta, koska se oli hänen mielestä tylsä. Kokemuksessa oli hauskaa hahmo nimeltä surku, koska se ulisi.
What did you enjoy about Taikatalvi?
I suggest you catch Taikatalvi at Oulu theatre while you can! I am a member of the Oulu Theatre’s Audience Committee and received tickets to the performance. We aren’t critics; rather, we share the perspectives of ordinary theatregoers on social media at a time when the number of theatre reviews is on the decline. Kuulun Oulun teatterin Näyttämöraatiin ja sain liput näytökseen. Emme ole kriitikkoja, vaan tuomme maallikkojen näkemystä teatterista someen ajassa, jossa teatteriarvioiden määrä on laskusuunnassa. #Näyttämöraati #OulunTeatteri #PuhettaTaiteesta  Kiva olla mukana Oulun teatterin Näyttämöraadia!
"Näyttämöraadissa kaudella 2025–2026 ovat Oulun suomalaisen yhteislukion opiskelijat Kaisla Kiilakoski ja Mitja Saari, yrittäjä Mikko Haapala, suunnittelija Henry Lindgren Pohjois-Suomen avista, Kaikkien Oulu -hankkeen projektikoordinaattori Arlene Tucker, Oulun Lippo Junioreiden junioripäällikkö ja naisten ykköspesiksen suomenmestari 2025 Iida Tossavainen, opettaja ja Luckan Uleåborgin toiminnanjohtaja Tea Stolt de Glanville." “Yhteistyö raatilaisten kanssa on joka vuosi kiinnostavaa. Pääsemme tutustumaan katsojien teatterikokemuksiin ja saamme myös hyviä kehitysideoita. Teatterikävijät ovat moninainen joukko erilaisista taustoista tulevia ihmisiä ja sen vuoksi pyrimme kokoamaan myös Näyttämöraadin erilaisista taustoista tulevilla oululaisilla”, Oulun teatterin toimitusjohtaja Anu-Maarit Moilanen kertoo. Lue koko artikkeli täältä (linkki menee Oulun teatterin nettisivulle). |
AuthorArlene Tucker is an artist, diversity agent, and educator currently based in Oulu, Finland. Archives
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